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TV's DR CHRIS DROWN BEHIND THE CAMERA

AUSTRALIAN

DIGITAL Ml

EDIUM FORMAT SPECIAL

MARCH/APRIL 2016 $8.99 NZ$ 10 .

www.avhub.com.au

BIG SHOTS ON T

EST Pentax 645Z + Phase One XF + Hasselblad CFV 50c

1500

Nikon

' fefiOO

“p

Fttl

I AM

I AM THE NEW NIKON D500. 1 have professional features in a
compact body. Starting with an incredible 153-point AF system and 4K
UHD movies. Featuring up to an exceptional 51,200 ISO sensitivity with an
extraordinary 180,000-pixel AE metering sensor. Operated via tilt screen
with touch operation functionality with Wi-Fi and SnapBridge included.

I am concentrated performance. MyNikonLife.com.au

Nikon

At the heart of the image

Editor Paul Burrows
pburrows@nextmedia.com.au

Art Director Kristian Hagen
Production Editor Edgar Kramer

Advertising Traffic Diane Preece
dpreece@nextmedia.com.au
Te: 02 9901 6151

Advertising Sales Lewis Preece

Divisional Manager & National
Advertising Sales

Jim Preece jpreece@nextmedia.com.au

Group Editor Jez Ford
Production Manager Peter Ryman
Circulation Director Carole Jones

CAMERA SUBSCRIPTIONS

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or in part, without the prior permission of the publisher. Printed

by Bluestar WEB Sydney, distributed by Gordon & Gotch.

15 IT TIME
TO REVIVE
THE TLR?

The publisher will not accept responsibility or any liability for
the correctness of information or opinions expressed in the
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while every care will be taken nextmedia does not accept
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LET'S BE HONEST, most of us would like to
have a digital medium format camera if only they
were more affordable. Even the cheapest option
- Pentax's excellent 645Z - is still pricier than a
top-of-the-line D-SLR with a full-35mm sensor,
and that's even before you start to consider
lenses. But there are imaging quality benefits
associated with big sensors - most notably an
increased dynamic range - which simply can't be
had any other way. No software-based short-cuts
available here.

It was the same in the film days, except that
there was much more choice and some rollfilm

officer, who can be contacted at nextmedia. Locked Bag 5555,
St Leonards, NSW 1590.

Our cover features
Dr Chris Brown who,
besides being a qualified
vet and popularTV
celebrity, is also a
very accomplished
photographer. Our
exclusive interview with
Chris begins on page 16.

(Cover landscape image by
Chris Brown. Image of Chris
Brown by Paul Burrows.)

Camera magazine is a
member of the Technical
Image Press Association.
Visit www.tipa.com

cameras were actually quite reasonably priced,
like the fixed-lens rangefinder models and the
last of the twin lens reflexes (TLRs).

TheTLR's glory days were in the 1940s
and '50s before the 35mm SLR - spearheaded
by Nikon's F - largely killed it off. When I
got into this business, the SLR - in any film
format - actually reigned supreme and we all
considered TLRs to be a bit of a joke. After all,
they were comparatively bulky, cumbersome,
slow and limited in their applications. Or so we
thought. Ah, the callowness of youth! Over
time I've come to revise these opinions, most
recently when a retired working photographer
donated a few more TLRs to my collection of
classic cameras.

r ocus

I like to spend a bit of time with new
acquisitions and, playing around with a
particularly nice Rollop from the mid-1950s,

I was once again struck by the fact that what
we once considered to be theTLR's failings are
actually its main attributes. And it didn't take me
long to progress to the idea that, in fact, here
was the perfect platform for a truly affordable
digital medium format camera.

So, by "affordable',' I'm thinking under $5000,
a lot of which would be accounted for by the
sensor which, logically, has to be the Sony-made
50 MP CMOS that's doing good work in a lot
of current DMF systems at the moment. My
D-TLR (that has a nice look, doesn't it?) would
have a fixed lens which, of course, could be
precisely matched to the sensor. I'm thinking
something with a 35mm-equivalent focal
length of 35mm and, to keep the cost down, a
maximum aperture of f2.8 or maybe even f3.5
(a 'traditional' speed forTLRs). Even though
Sony's CMOS can deliver live view, I wouldn't
have a monitor screen, but rather a simple mono
read-out panel accompanied by the buttons for
the basic capture settings of ISO, white balance,
file format/size, colour space and maybe noise
reduction. The image file options would be
RAW (Adobe DNG for convenience) and a single
JPEG setting (i.e. large/fine). For JPEGs, there'd
be adjustments for saturation, contrast and
sharpness plus a monochrome setting. Image
replay/review would have to wait until you got
home... just like in the good old days. The rest
of my D-TLR would be purist heaven - manual
aperture and shutter speed setting; manual
focusing, but on a modern, bright focusing
screen with a split-image rangefinder that's easy
to use; and a waistlevel finder (of course) with
magnifier. Focusing itself is 'old school' via a
knob which extends or retracts the lens board
using a simple cam drive. And without the need
for an opening back or a film transport's bits,
my D-TLR would actually be even easier to build
than a rollfilm version... basically little more
than a rigid aluminium alloy box which should
also help keep manufacturing costs down. For
the sake of convenience, I think I'd have to have
a built-in exposure meter, but with a simple
uncoupled arrangement (as on, for example,
theYashica Mat-124G) which would still be in
keeping with the traditional TLR 'experience'.

If my entry-level D-TLR was a success,
we could perhaps move up to a model with a
monitor screen, TTL metering, auto exposure
control and a few other luxuries.

Then who knows where? I really think I'm
on to something here... the TLR revival could be
just what digital medium format photography
needs. On the other hand...

Paul Burrows, Editor

Camera 03

N. /

CONTENTS

AUSTRALIAN CAMERA MAGAZINE
MARCH/APRIL 2016

PROFILE
Dr Chris Brown

04 Camera

Tm A Photographer - Get Me InThere!'
TV vet and versatile presenter.

Dr Chris Brown, loves overseas
assignments because they're an
opportunity to find new places
for photography. The latest Canon
Ambassador tells Camera all about
his great love for photography
and the challenges of working
around his many TV commitments.

CONTENTS

Australian Teenage Photographer Of The Year entrant Amelia Patman says
"I photograph the country - as well as pet portraits - as these are places
and things I love, and find my happy place in..." See her portfolio on p52.

REGULARS

6 What's New

Canon and Nikon resume battle at the top
of the D-SLR market with their respective
new pro models - D5 and EOS-1 D X Mark II.
Fujifilm unveils the much-anticipated X-Pro2
(and an update of the X-E2), Olympus pays
homage to its famous half-frame camera
with the new PEN F, and Leica launches a
trio of updated M-mount primes.

34 Light Work

These articles are designed to help you
appreciate how professional photographers
approach assignments and the techniques they
use, including some helpful tricks of the trade.

In this issue, Trevern gets to work in the famous
Te Paki sand hills on New Zealand's north island.

78 Fujifilm Showcase 2016

We're now well into the 2016 competition and
the standard is high, but why not see if you can
do even better? Entering the Fujifilm Showcase
is easy and you can do it online by submitting
images to cameracomp@avhub.com.au or send
us digital files on a DVD or USB drive.

80 CAMERA BUYER'S CHECKLIST
D-SLRs And CSCs

There's some tempting new arrivals in this
issue's checklists so perhaps it's time for an
upgrade? Where RRPs aren't provided, we
provide an average of the 'street prices'
we've seen quoted over the last month or so.

52 COMPETITION
Australian Teenage
Photographer Of The Year

If you're aged between 13 and 19, there's just
one more chance to enter our inaugural search
for Australia's best teenage photographer. For
all the details about how to enter go to
www.avhub.com.au and follow the links to
Camera magazine.

68 CLASSICS

Medium Format Cameras
You Can Afford

Every cloud has a silver lining and so,
while digital medium format cameras may
be pricy, the classic rollfilm models are
now hugely affordable. And don't be put off;

120 rollfilm, both in colour and B&W, can
still be found and processed.

76 IN PRACTICE
Digital Print Maker

Continuing our BIG theme, Trevern Dawes
takes on the challenges of producing a large
portfolio photo book with his printer, starting
with selecting the right paper for the job.

ON TRIAL

26 ON TRIAL
Phase One XF

So here's what you can get if money is no
object. In the first of our three digital medium
format system road-tests, we take a look at one
of the most expensive options. And, yes,
it does cost the same as a pretty nice new car.

36 ON TRIAL
Hasselblad CFV 50c

So the Phase One XF is a bit beyond your
budget? Here's an interesting alternative
i route into digital medium format photography,

| especially if you already happen to own
j one of Hasselbblad's legendary 500 Series
j camera bodies. . . just add the CFV 50c and
| you're ready for high-end digital capture.

•

; 44 ON TRIAL
Pentax 645Z

The most affordable way into digital medium
format capture (by quite a significant margin),
Pentax's 645Z is not only well-priced, but
it's also the most well-featured digital '645'
D-SLR on the market. Hard to resist really.

: 54 ON TRIAL

Epson SureColor SC-P800

\ If you've got big picture files, you're going
i to need a big printer right? Epson's new-
i generation A2+ accepts both cut sheets
j and paper rolls so you can output some
: really, really big prints.

64 ON TRIAL
ViewSonic VP2780
4K LED 27-inch Monitor

| If you want the imaging performance of a
| 4K display, but don't have a huge amount
i of space on your desktop, ViewSonic's new
j VP2780-4K monitor - which uses the latest
| IPS panel technology - is the solution and it's
| also attractively priced.

Camera 05

THE FAITH WITH D-SLRs...

NIKON KEEPS

HAVING REVEALED IT was

working on a D5 model late last
year, Nikon wasted no time in
unveiling its next-generation pro- j
level D-SLR, using the giant CES
exhibition in Las Vegas in early
January as the launch platform.
Although the old PMA event was
folded into CES a few years ago, :
imaging isn't really a major part
of the world's largest consumer
electronics trade show and, aside :
from Nikon, the only other major j
brands represented in the LV
Convention Centre's Central Hall
were Canon, GoPro, Polaroid and '

Ricoh Imaging/Pentax. Of course, ;
both Sony and Panasonic were
showing cameras on their (huge) I
stands, but not, notably, Samsung ;
which would seem to confirm that *

the company is indeed exiting
this business. Contrary to other
rumours though, Nikon did not
announce it was buying Samsung's ;
camera division, despite there
being some obvious synergies.

Instead, on the day before
CES opened, Nikon held a large
international press conference
to unveil the D5, a new 'APS-C'
format D-SLR flagship called the
D500, and its entry into the still-
growing 'action cam' sector.

While the conference was billed ;
'The Dawn Of A New Era', there
is still no sign that Nikon will have I
a full-frame mirrorless camera
system any time soon in order to
counter the rise and rise of Sony's I

A7 Series (of course, Canon is
pretty much in the same boat too).

Nevertheless, the D5 is an
impressive machine, extending
all the key specs of the D4S and
described at the launch as " . . .by
far our best and most ambitious
D-SLR'.' Similar in size and styling
to its predecessor, the D5 has a
new CMOS sensor with a total
pixel count of 21.33 million (20.8
MP effective) and an imaging area
of 23.9x35.9 mm. It's mated with
Nikon's latest-generation 'Expeed
5' processor which allows for
continuous shooting at up to 12
fps with continuous AF adjustment
(14 fps with AF and AE locked to
the first frame) and, importantly,

4K video recording. This processor
noise reduction algorithms and the
sensor's design enable a native
sensitivity range equivalent to ISO
100 to 102,400 with expansion up
to ISO 3,280,000 (a 'Hi. 5' setting).
Interestingly, when it comes to
data storage, Nikon is offering two
versions of the D5, one with dual
XQD slots or one with dual CF slots
(which provides UDMA-7 speed
support). This overcomes the limita-
tions of having one of each format.

The D5 gets both a new autofo-
cusing system and a new metering
system. AF is via a new 'Multi-CAM
20K' module which employs a total
of 153 focusing points, 99 of which
are cross-type arrays (55 and 35
manually selectable respectively).
Fifteen points are still active with

lenses as slow as f8.0, and there's
a choice of seven area modes with
a 'Quick mode' switching function.
Continuous AF operations can be
extensively customised to suit the
type of subject movement. A new
reflex mirror mechanism using
a stepping motor allows for the
shooting speed of 12 fps which
can be maintained for a burst of
200 frames with continuous AF/AE
adjustment. Metering is based on
a new RGB-sensitive sensor which
has 180,000 pixels and is labelled
'3D Colour Matrix Metering III'.
There's the option of multi-point,
centre-weighted average (adjust-
able as on the D4S) and spot
measurements, driving a standard
set of 'PASM' exposure control
modes. Auto bracketing functions
are available for exposure, flash,
white balance and Nikon's 'Active
D-Lighting' correction for dynamic
range expansion. The shutter now
has a sensor-based 'first curtain"
option for minimising vibration,
while the physical shutter mecha-
nism is tested to 400,000 cycles.

The D5's bodyshell comprises
magnesium alloy covers with full
weather sealing. The prism-based
optical viewfinder gives 100 percent
coverage and has a magnification
of 0.72x. The LCD monitor screen
is fixed, but has a resolution of
2.359 megadots and, importantly,
touch controls. Interfaces include
a stereo audio input and output
(both 3.5 mm terminals) and a

Type C HDMI connection which
delivers an 'uncompressed' video
feed for recording 2K/4K video
to an external device (albeit still
only 8-bit and 4:2:2 colour). The
D5 records 4K video in the UHD
resolution of 3840x2160 pixels
(with no pixel-binning) and 8-bit
MPEG-4/H.264 compression to give
MOV format files. No bit-rates are
currently quoted and there are also
a couple of notable limitations here,
namely a cropped sensor (actually
only fraction larger than the 'DX'
format frame, at 1.45x) and a very
short clip length limit of just three
minutes. Full frame video recording
is only available in the Full HD or
HD resolutions. Additionally, the D5
doesn't have the Cinema 4K resolu-
tion mode (i.e. 4096x2160 pixels)
that's offered on the Canon EOS-1 D
C and most dedicated 4K video
cameras (i.e. Blackmagic, Red, Pa-
nasonic, Sony, etc). While the step
up to 4K video is welcome, the D5
remains very much a stills camera
first and foremost, and its video of-
ferings don't look quite so appealing
compared to what else is on offer
(especially among the higher-end
mirrorless cameras).

Pricing for the D5 hasn't been
unveiled, but it looks like selling
for around US$6500 in the USA or
7000 Euros in Europe which could
mean in the region of $9500 locally,
putting it much closer to Leica's
SL... the mirrorless camera that
the Germans are touting as a pro
D-SLR killer. Availability will be from
March. For more information visit
www.mynikonlife.com.au

06 Camera

Distinct Format.
Unmistakable Brilliance.

PENTAX

645 Z

Experience the distinct perspective of medium format photography with the unique 645Z. The 645Z seamlessly combines
brilliant build quality, exceptional operability and hyper resolution with 51 .4 million effective pixels (1.7x Full Frame).
The 645Z allows the capture of beautiful, full HD movies and 4K Interval shooting. Take your photography, from the
field to the commercial studio, to the next level with the distinctly brilliant PENTAX 645Z.

from $10,499 body drily pentax.com.au

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WHAT'S NEW

Mark II

QLD

Broadbeach | Bundaberg
Cairns I Carindale
Chermside I Dalby
Garbutt I Helensvale
Indooroopilly I Loganholme
Mackay I Noosaville
North Lakes I Robina
Rockhampton I Toowoomba
Townsville

Adelaide - Central Market
Adelaide - City Cross
Adelaide - Twin City
Mount Gambier

TAS

Devonport I Hobart
Launceston

VIC

Ballarat I Bendigo
Croydon I Echuca
Geelong I Horsham
Sale l Shepparton
Swan Hill

IT'S THE BATTLE of the big guns at the
top-end of the D-SLR market as Canon follows
Nikon's D5 with its own new flagship, the
EOS-1 D X Mark II. Designed to replace both
the EOS-1 D X and the more video-orientated
EOS-1 D C, the new camera again pushes the
performance envelope for D-SLRs in both still
capture and video recording.

The all-new bodyshell is similar in styling to
that of the previous model, but with a pro-
nounced 'hump' atop the pentaprism housing
which contains a GPS receiver. Canon says the
camera is largely hand-assembled by technicians
who have achieved 'Meister' status and who,
interestingly, are individually responsible for
building, inspecting and testing an entire body
themselves, rather than just being responsible
for one stage or process. The Mark II is built
around a full-35mm CMOS with a total pixel
count of 21.5 megapixels and a native sensitiv-
ity range equivalent to ISO 100 to 51,200 with
expansion to ISO 50 and ISO 409,600. The
engine room is a pair of 'DiGIC 6+' processors
which enable a continuous shooting speed of 14
fps with continuous AF/AE adjustment and up to
16 fps when using live view (but with AF fixed to
the first frame). Not surprisingly, this has neces-
sitated a redesign of the reflex mirror mechanism
and, additionally, these speeds are only achieved
by using a CFast 2.0 memory card. The -1 D X
Mark II has one slot for CFast cards and one for
standard CompactFlash types. It's interesting to
note here that Canon has opted for the CFast
format rather than XQD as chosen by Nikon.

The new camera's dual high-speed proces-
sors also allow for 4K video recording in the
Cinema 4K format of 4096x2160 pixels (versus
the D5's UHD resolution) at 50 or 60 fps. Full HD

video can be recorded at 120 fps for alow-mo
effects. Also interestingly, Canon is providing a
'4K Scene' mode which allows for the extrac-
tion of 8.3 MP stills (like Panasonic's '4K Photo'
modes). Still on video, the new camera has
built-in stereo microphones, but is also equipped
with stereo audio connectors (input and output)
and can deliver an uncompressed 4K/2K output
(8-bit, 4:2:2 colour) to its Type C HDMI terminal.
Autofocusing with video is performed via phase-
detection measurements using an upgraded
version of Canon's 'Dual Pixel CMOS AF' system.

Also upgraded is the camera's main AF
system which employs 61 measuring points,

41 of them being cross-type arrays, including five
dual cross-type arrays with f2.8 sensitivity. A
total of 21 cross-type arrays are still operating
at a lens speed of f8.0. Low light sensitivity
extends down to EV -3.0 (at ISO 100). The -1 D X
Mark II also gets a beefed-up metering system
which employs an 'RGB+IR' sensor with 360,000
pixels which generate 216 measuring zones.

The monitor screen is a fixed 8.1 cm 'Clear
View II' LCD panel with a resolution of 1.62
megadots and which, in live view and video, pro-
vides touch controls, including focusing. Other
notable features include a multiple exposure
facility, anti-flicker detection, white balance brack-
eting, a fully-sealed magnesium-alloy bodyshell
and compatibility with a new wireless transmitter
called the WFT-E8 (but there isn't built-in WiFi).

Canon Australia expects the EOS-1 D X Mark
II to be available from mid-April and has indicated
that it will be quite a bit more expensive than
the EOS-1 D X, perhaps with a price tag nudging
$10,000 (and therefore closer to what the EOS-
1 D C was selling for). For more information
visit www.canon.com.au

Albany I Bunbury
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Perth

STORES

NSW

Albury I Broadway
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Canon

% EOS-1 D

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i ^

OLYMPUS PAYS HOMAGE
TO THE ORIGINAL PEN F

AH, OLYMPUSYOU never
disappoint us! Any concerns that
the Digital PEN series might be
finished as Olympus increasingly
concentrated on its highly success-
ful OM-D line-up appear unfounded
as the company launches its best
compact mirrorless model yet.

The new PEN F pays
homage to the half-
frame 35mm SLR
from 1963, argu-
ably the camera
which first
established the
Olympus brand
in the minds of
enthusiast shoot-
ers... especially
as a maker of rather
small, but highly-fea-
tured models.

Like its spiritual ancestor, the
PEN F is elegantly styled with a
high reliance on traditional dials
for control. It features an all-metal
bodyshell and is the first Digital

Pen model to incorporate a built-in
electronic viewfinder... an OLED
panel with a resolution of 2.36 mil-
lion dots. This is supplemented by
a tilt/swing adjustable LCD monitor
screen with touch controls and a
resolution of 1.37 million dots.

Also new is a higher resolu-
tion 'Live MOS' sensor
with an effective
pixel count of 20.3
million and, most
likely, the same
device as is
used in Pana-
sonic's GX8. It's
accompanied
by Olympus's
latest 'Truepix VII'
processor which
enables continuous
shooting at up to 10 fps and
Full HD video recording at 50, 25 or
24 fps (progressive scan). The PEN
F also has Olympus's latest-gener-
ation five-axis sensor-shift image
stabilisation, and the 'Hi-Res' shot

mode - which also uses sensor
shifting - to create 50 megapixels
JPEGs or 80 megapixels RAW files.

The in-camera image process-
ing functions available on the latest
OM-D cameras - the 'Highlight &
Shadow' and 'Colour Creator' con-
trols - have been further expanded
via a new 'Monochrome And Colour
Profile' controller which is accessed
via a front-facing 'Creative Dial'.

The profile control provides user-
customisable tone and saturation
image presets which simulate the
look of classic colour and B&W
films. The monochrome profile
mode even enables digitised 'film
grain' to be applied to an image.
Olympus says there's an increasing
demand for more Photoshop-style
adjustments in-camera as many
more images are being uploaded
directly while in the field, via WiFi,
rather than after post-camera edit-
ing. The PEN F's 'Creative Dial' also
provides quick access to the 'Art
Filters' effects and the 'Colour Crea-
tor' adjustments.

In keeping with the style of
the new PEN F, Olympus has
released a range of bespoke acces-
sories, including a limited-edition
leather bag and a premium leather
shoulder strap. An optional hand-
grip which cleverly incorporates an
Arca-Swiss type tripod mounting
plate is also available.

The Olympus PEN F is available
in either balck or silver finishes and
comes bundled with the compact
FL-LM3 accessory flash unit. It's
priced at $1799 for the body only
or $1999 when packaged with the
M.Zuiko Digital 14-42mm f3.5-5.6
powered zoom. For more informa-
tion visit www.olympus.com.au

While there's yet to be any
formal announcement globally,
it would appear Samsung has
decided to exit the camera
business after recording lack
lustre results in most major
markets, including Australia.

The company had already an-
nounced at the end of 2015 that
it would no longer be selling
cameras in Europe and that the
NX1 - undoubtedly its best mir-
rorless model ever - had been
discontinued. This is apparently
also the case in Scandinavia
and, according to one report,
Australia where some retailers
have been told the NX System
is finished. Samsung had been
talking a big game in cameras
for a while, but finally delivered
with the excellent NX1 and
its NX500 cousin. However,
it appears neither were enough
to turn the sector around
sufficiently for Samsung.
Another rumour suggests that
the 'APS-C' NX platform has
been discontinued to make way
for a full-35mm system - in
the light of Sony's huge suc-
cess with the A7 Series - but
frankly we think this is unlikely.
Samsung can simply make
better money in the many other
CE segments where it is a key
player; something that was
never the case with cameras.

ALL-AROUND ACTION FROM NIKON

NIKON HAS ANNOUNCED its intention
to compete in the ever-growing video 'action
cam' sector and will launch a compact, rug-
ged camera by mid-year. Nikon's KeyMission
360 - the first, says the company, in a series
of products - features two lenses and sen-
sors, located front and rear to give a single,
full 360-degree image in the UHD 4K video
resolution. The images generated by each
of the lens-and-sensor pairs are combined
in-camera to create a 'virtual reality' (VR)
experience, but neither the sensor's resolu-
tion or type, nor the lens focal lengths, have
been specified at present. The ruggedised
and palm-sized camera body is waterproofed

down to 30 minutes - so it's obviously also
dust-proof - and shock-proofed to withstand
a drop of two metres. It is also insulated to
allow for operation in temperatures down to -10
degrees Celsius.

The KeyMission 360 has built-in WiFi with
NFC connectivity so a mobile device such as
smartphone or tablet can be used as viewfinder
and controller. It also offers Nikon's SnapBridge
'always on' wireless file sharing via BLE (Blue-
tooth Low Energy). It also has a built-in micro-
phone and electronic image stabilisation which
can also be app-enabled applied during playback.

No other details of the Nikon KeyMission 360
are currently available.

10 CAMEFyX

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WHAT'S NEW

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SHOWROOM ADDRESS
Unit 213, 68 Alexander Street,
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02 9437 5800

sales@mainlinephoto.com.au

FUJIFILM SPRUCES UP THE X-E2

WHILE THE X-PR02 has grabbed the main
headlines, Fujifilm has re-issued its enthusiast-level
RF-style mirrorless, now designated the XE-2s.

The revised model has an upgraded autofocusing
system - now with 77 points in the continuous
Wide/Tracking mode - and a sensor-based shutter
which allows for a top speed of 1/32,000 second
and enables a silent shooting mode. As before,
autofocusing is via a hybrid phase-difference/
contrast detection system. The sensitivity range
now extends an extra stop to the equivalent of ISO
51 ,200. The Classic Chrome preset is added to the
choice of 'Film Simulation' modes. The good news
for owners of the X-E2 is that quite a number of

these new features will be available via a firmware
upgrade which is due later in the year. Externally,
the new X-E2s has a reshaped handgrip and a new
graphic user interface similar to the one introduced
with the X-Pro2. Retained from the previous model
is the OLED-type EVF with a resolution of 2.36
megadots, the 16.7 megapixels 'X-Trans CMOS II'
sensor, fixed LCD monitor screen with a resolution
of 1.04 megadots, maximum continuous shooting
speed of 7.0 fps and built-in WiFi module.

The Fujifilm X-E2s is priced at $1399 with the
Fujinon XF 18-55mm f2. 8-4.0 R LM OIS zoom.

Local availability is from March. For more
information visit www.fujifilm.com.au

PHOTOGRAPHY
EXHIBITIONS
& EVENTS

Exhibition.

Imprint: Photography And The
Impressionable Image. Images
which explore the association
between photography and the
sculptural cast, investigating the
exchange between an object and
its echo. Artists include Ingeborg
Tyssen, Lewis Morley, Florst P
Horst, Peter Lyssiotis, Juliana
Swatko and Werner Rohde. Art
Gallery of NSW, Art Gallery Road,
The Domain, NSW 2000. Tel-
ephone (02) 9225 1744 for more
information or visit the website
at www.artgallery.nsw.gov.au Ad-
mission is free. Gallery hours are
10.00am to 5.00pm daily (open to
9.00pm on Wednesdays).

Exhibition.

Head On Portrait Prize 2016. At
the Museum Of Sydney, corner
Bridge and Phillip Streets, Syd-
ney, NSW 2000. Gallery hours
are 9.30am to 5.00pm daily.

For more information telephone

(02) 9251 5988 or please visit
www.hht.net.au For more
information about the Head
On Photo Festival visit
www.headon.com.au

Exhibition. New

Work. Photographs byAnna-
Maryken - created using
traditional film and processing -
which reflect her traditional
Dutch upbringing, as well as
elements found in her self-con-
structed, real-time compositions
from her immediate environment
in the NSW Southern Highlands.
At theYellow House Sydney, 57
Macleay Street, Potts Point, NSW
2011. Part of the Head On exhibi-
tion program.

Exhibition. Tracey Moffatt -
Laudanum And Other Works.
Photography series and video
montages draw from the gallery's
collection, including Laudanum
1998 and Plantation 2009. At the
Art Gallery of NSW, Art Gallery
Road, The Domain, NSW 2000.
Telephone (02) 9225 1744 for

more information or visit
www.artgallery.nsw.gov.au Ad-
mission is free. Gallery hours are
10.00am to 5.00pm daily (open to
9.00pm on Wednesdays).

Exhibition. Cindy Sherman.
Showing for the first time in
Australia and presenting a series
of large scale photographs made
since 2000 which feature Sher-
man dressed in a theatrical array
of costumes. At the Queensland
Gallery Of Modern Art (QAGO-
MA), Stanley Place, South Bank,
Brisbane, Queensland 4101.
Gallery hours are 10.00am to
5.00pm daily. Ticketed admission.
For more information telephone
(07) 3840 7307 or visit
www.qagoma.qld.gov.au

2016 Photokina World Of Imaging.

The world's largest exhibition
of new imaging products and
processes. At the Koln Messe,
Cologne, Germany. Visit
www.photokina-cologne.com
for more information.

www.mainlinephoto.com.au

12 Camera

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NEW

M-MOUNT
LENS TRIO
FROM
LEICA

THREE UPDATED
VERSIONS of popular
wide-angle primes have
been announced by Leica
and will be available in Aus-
tralia over the next couple
of months. All have more
robust constructions
- including full-metal rectan-
gular lens hoods and metal
lens caps - and revised
optical designs to optimise
performance. All three are
manufactured in Germany
and feature compact designs
to enhance their suitability
for applications such
as photojournalism and
street photography.

The three models com-
prise a Summicron-M 28mm
f2.0 ASPH and Summicron-
M 35mm f2.0 ASPH, plus an
Elmarit-M 28mm f2.8 ASPH.

The new 35mm f2.0 is
available in either silver or
black finishes (both priced
at $4550) and has a seven-
element optical construction
with an 11-blade diaphragm
for smoother out-of-focus
effects. It has a minimum
focusing distance of 70
centimetres.

Both the new 28mm
models are available in black
only. The f2.0 speed Sum-
micron-M lens ($5700) has
a nine-element construction
which is claimed to achieve
"ever better imaging per-
formance across the entire
image field'.'The minimum
focusing distance is also 70
centimetres. The f2.8 speed
Elmarit-M lens ($3100) has
an eight-element optical
construction and is the most
compact lens in the cur-
rent M-Mount system. The
revised optics deliver a
"significantly reduced"
image field curvature com-
bined with "brilliant resolu-
tion of details"

For more information
visit the website at
www.leica-camera.com

FUJIFILM UPGRADES PRO
MIRRORLESS CAMERA

THE MUCH-ANTICIPATED

successor to Fujifilm's X-Prol has
finally arrived and the good news
is that the basic formula of an RF-
style camera with a hybrid optical/
electronic viewfinder remains
unchanged. However, the new
X-Pro2 incorporates revisions to
just about every element of its
design, including its control layout.
At a press preview of the X-Pro2, a
Fujifilm representative commented,
"It looks the same, but basically
we've changed everything'.' Quite
a number of the updated or new
features are carried over from the
current X-T1 and X-E2 models while
some are exclusive to Fujifilm's
new professional-level model.

On the inside, the X-Pro2 has a
new version of Fujifilm's proprietary
filter-patterned 'APS-C' format sen-
sor called the 'X-Trans CMOS III'
which has an effective resolution
of 24.3 megapixels and a sensitiv-
ity range equivalent to ISO 100
to 12,800. It's mated with a new
'X Processor Pro' data processor
which allows for continuous shoot-
ing at up to 8.0 fps. Fujifilm claims
a start-up time of 0.4 seconds, a
shooting interval of 0.25 seconds,
a shutter time lag of 0.05 seconds
and a fastest AF speed of 0.06 sec-
onds. The X-Pro2 has a hybrid con-
trast/phase detection AF system
which employs 273 focusing points
(169 of them for phase-detection
measurements). The number of
manually selectable focusing points
has increased from 49 on the X-
Prol up to 77, and the new camera
has the same 'Zone' (i.e. area) and
tracking modes as the X-T1 running
the current firmware upgrade.

The X-Pro2 has a new and faster
shutter mechanism with a top
shutter speed of 1/8000 second
(and flash sync speed up) 1/250
second, and an increased durabil-
ity of 150,000 cycles. The camera
also has a sensor-based electronic
shutter which allows for silent

operation and a maximum speed
of 1/32,000 second. New features
include a new 'Film Simulation' pre-
set called Acros for B&W images
with increased detailing, multiple
bracketing modes ('Film Simula-
tion', AE, ISO, white balance and
dynamic range), an intervalometer,
a 'Grain Effect' function (with Weak
or Strong settings) and dual slots
for SD format memory cards with
UHS-II speed support.

The X-Pro2's bodyshell com-
prises of four magnesium alloy
sides with a total of 61 weath-
erproof seals and insulation to
enable operations in temperatures
as low as -10 degrees Celsius. As
on the other high-end Fujifilm X
Series cameras, the main control
dials are milled from solid billets of
aluminium. The control layout now
includes both front and rear input
wheels and a joystick for faster
selection of the AF points.

The ISO selector is integrated
into the shutter speed dial and is
set by lifting and turning until the
desired value is shown via a small
window - an arrangement popular
during the 1960s and '70s. The
7.62 cm LCD monitor screen has
an increased resolution of 1.62
megadots and refresh rate of 60
fps. The updated Advanced Hybrid
Multi Viewfinder' incorporates a
new EVF component with a resolu-
tion of 2.36 megadots and features
such as the 'Electronic Range-
finder' which was introduced on
the X100T. This displays as a small
EVF window in the optical finder
enabling the checking of focus,
angle-of-view, exposure and white
balance in real-time; while even the
video feed can be displayed.

The X-Pro2 records Full HD
video at 50, 25 or 24 fps with ste-
reo sound, and has a built-in WiFi
module. It's priced at $2699 body
only with local availability from early
April. For more information visit
www.fujifilm.com.au

14 CAMEtyK

WQRl

D'S MOST AD'

DANCED II

WAGE ST

ABILISATION i

SYSTEM : 5- AX IS IS

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H PROOF

* COMPACT

AND LIGHTWEIGHT

PROFILE

ALL THINGS
BRIGHT AND
BEAUTIFUL

He’s one of the busiest personalities on Australian
television at the moment, but this hasn’t stopped
celebrity vet Dr Chris Brown finding time behind the
camera to pursue his long-held love of photography.

INTERVIEW BY PAUL BURROWS

DR CHRIS BROWN

16 CAMEftf

DR CHRIS BROWN

PROFILE

I NTHE FLESH Dr Chris
Brown is even more
engaging than his on-
screen personality.

Believe it or not, he's
even better looking and
more charismatic, but in
a completely natural sort
of a way. He exudes an
infectious enthusiasm,
seems genuinely
comfortable in his own
skin and laughs a lot...
a whole lot. No wonder then
that he's got a full dance card as
far as his television commitments
are concerned.

We manage to cram in an
interview just before the Christmas i
break when he had a few very
precious days off before diving
headlong into the hectic schedule
of filming the new series of I'm A
Celebrity. . . Get Me Out Of Here!
which he co-hosts with comedian ;
and actor Julia Morris. I'm A
Celebrity is probably proof that
Chris Brown doesn't take himself i
all that seriously, but while it no
doubt pays well - and certainly
doesn't hurt his profile - the big
attraction for the vet-turned-TV-
star is the show's South African

location which allows him to
combine his two great loves...
animals and photography.

The hugely successful series
Bondi Vet, first shown in 2008,
brought Chris to national (and
international) prominence and
he's subsequently been involved
with a variety of TV programs,
including the lifestyle show, The
Living Room, where he presents
segments on pets and travel. . .
another great passion as it provides
more opportunities for photography.

Chris says he has always had a
camera and loved taking pictures,
starting from when he was about
five or six.

"I've always been drawn to 'the
little magic box' that is the camera.
As a young child I remember
borrowing Mum's camera and
chasing the pets around the
house... and her around the house.
I was asked the other day whether
I remembered my first photo. Well,

I certainly remember my first roll
of film because it's become quite
infamous in our family. I was so
excited I'd been running around
taking shots of everything and, at
the end, I burst into the bathroom
and took a photo of Mum in the
shower. Now, of course, the film
had to be developed at the local
chemist and our local chemist used
to flash up the shots as they were
being developed... and this was
our local chemist that Mum had to
go to for our medications and other
things! She could never go back...
so I kind of ruined an integral part
of our family's community with
that one shot! "

"Thankfully," says Chris Brown,

"I didn't end up becoming a
paparazzi photographer."

Different Eyes

Despite developing other interests
and priorities as a teenager, Chris
says he's always had a camera and
always taken photographs.

"Whether I used it a lot or just
a little, it's always been there.

I guess I've always had two
passions - it's been animals which
has flowed on into my career and
also landscapes. I just really enjoy
taking landscape shots. I love the
fact that it makes me appreciate
the world around me even more
and it makes me look at it through
different eyes. With the camera,
you see it in a different way to the
way you sometimes see it and just
take for granted. Now I obsess
over light, and I obsess over the
time of day, and colour and the
movement of water... all those

18 Camera

DR CHRIS BROWN

little things that you'd otherwise
miss. And, as a photographer, you
have to work with all these things
so that they become your friends
and, I guess, on occasions your
enemies when they get in the
way of something. But you look
at them and you appreciate them
and you become a connoisseur of
them... and I like the fact that it
makes me more aware of what's
around me."

As it happens, though, animals
and photography do go together
pretty well, don't they?

"They do. They do. My big
philosophy is that every animal
has a personality and I think I'm
fortunate in my job that I get to
spend a lot of time with them and
get to know that personality. . .
and, with photography, my
challenge is always to bring out
some of that personality."

And Chris says he likes all
animals from African 'big game' to
domestic pets.

"They've all got their own little
quirks," he observes. "And their
own challenges photographically.

But I do think there's something
beautiful in the idea of having

I prefer to keep it
all fairly true and
just play with the
colours to bring
them to where
they should
be. I dunno, I’d
kind of feel like
I was cheating
if I changed the
actual structure
of the shot

many obstacles and difficulties in
getting a shot. It's always the ones
that didn't come easy that you're
the most proud of."

Inevitably, of course, we have
to bring up that the old showbiz
adage about never working with
children... or animals.

"I often hear that statement
and, for starters, if it was true then

Camera 19

PROFILE

20 CAMEf&

DR CHRIS BROWN

Camera 21

PROFILE

I wouldn't have a job, but I think
animals are the greatest subject
matter because they don't follow
a script and provided you're open
to capturing - and embracing - of
whatever they're going to give you
then you'll always get something
unexpected. And that's the most
exciting part."

Photo Opportunities

Chris's TV schedule is ridiculously
busy and he's on the road for much
of the year, but he still manages
to engineer opportunities for
his photography when working
on a program.

"It can be hard. But I guess
the fortunate thing is that, with TV,
we normally shoot from nine to
six in bright light. They rarely use
the 'golden hours' at either end of
the day, and so it can work in quite
nicely. It just means getting up a
little bit earlier and so potentially
looking a bit more dishevelled
when you're actually on camera for
the job you're meant to be doing
there. For me, it's such a pleasure
being in these different places
around the world that I always like
to bring home a few images of my
own rather than always being on
the other side of the lens."

But having developed and
refined his own eye for a great
image, is Chris ever tempted to
give his camera crew some advice
about how to frame up a shot?

"We actually talk a lot. The
cameraman [on The Living
Room] and I have a really good
relationship. Fie teaches me a few
little things and I'll give him a few
tips on locations. So, quite often,
the locations that I've heard about
and I'm interested in shooting for
stills, we'll end up shooting parts
of the story there simply because
I've found these places and then
seen where some of the best
spots are."

And, "...probably because the
bosses have decided to work with
it rather than against it. . . " The
Living Room is allowing him to do
more photography stories this year,
visiting particular locations to find
out the best ways to photograph
what's there.

"Photography is so big now
for our audience, and the way
we're doing these pieces is a bit
like what people try to do when
they go on holidays to a particular
location. We're showing them
how we would go about it and so
hopefully they'll learn a thing or
two that will help them get the
shots they want."

Prime Time

Asked whether he was an
enthusiastic embracer of digital
imaging, Chris Brown thinks for a
short while before answering.

"No, I hung on [to film] for a
little while, but then I had a few
film disasters - rolls that weren't
developed correctly and other
problems - and so, in the end,

I didn't really need too much
convincing to go across. But, at
times, I do still miss the warmth
of film, but the convenience of
digital is just mind-blowing. When
you're doing stuff forTV it's very
important to know that you've got
what you need."

Chris currently shoots mostly
with a Canon EOS-1 D X and now
also has an EOS 5Ds R, "...but the
1 D X is my standard. I shoot a lot
of low-light stuff and I really love
the way it handles that without
too much grain. That's why it's
got me'.' Fle's also enjoying the 50
megapixels resolution of the 5Ds R
as it delivers significantly increased
amounts of superfine detailing in
elements such as feathers and fur.

"With animal shots, in particular,
being able to really crop in on
little features or textures is really
exciting. You can almost create a
tactile response to these images."

Chris's preference is for prime
lenses, with a particular favourite
being Canon's EF 35mm f 1.4
L Series wide-angle which he
describes as "the lens I get the
most joy out of"

"It's a landscape lens, but I also
love the way it puts animals in their
location because it's wide enough
to do that and has that depth-of-
field as well. Probably the biggest
thing I've learned recently is to pull
back and try to put an animal into
a scene to allow it to tell a story.
Since I've been doing that more, I
feel my animal shots have got a lot
better. And that's what I like about
this lens; it does let you to place
them and allows the environment
to tell a bit of the story. And that's
the main goal of photography for
me. . . to tell a story with an image."

Little Passions

While he's keen to start making
prints of his favourite pictures - "I
now have a house full of empty
walls" - limited time means that
Chris mostly shares his work
online, including Instagram.

"But, to be honest, 80 percent
of the pleasure I get from photos
is really just personal. It's just me
being able to look over them and
having a memory. My crew always

22 Camera

I love the fact that the camera
makes me appreciate the world
around me even more and it makes
me look at it through different eyes

DR CHRIS BROWN

PROFILE

laugh at me whenever we're on
a flight because they'll be sitting
there watching movies, and I'll be
hunched over my laptop fussing
over my images, trying different
crops and just seeing what really
works the best.

"A lot of people get amusement
out of my little passions. If I
commit to a shot, I'll really commit
to it. And I'll have an idea in my
head about what I want and how
I'll go about it."

To illustrate the point, Chris
relates an incident that happened
when he was on assignment in
Canada for The Living Room. He
wanted to shoot a sunset from
quite high up in The Rockies,
particularly as the smoke blowing
in from bushfires in the USA was
creating really dramatic skies.

"I got the chairlift up to the
top, but miscalculated the time
of the sunset so I was up there
about three hours early. I walked
around for a while and took a few
other shots, but still needed to
wait around so I sat on a rock and,
because I was still a bit jet-lagged,

I fell completely asleep. And I then
remember being woken up by
these hikers as one said loudly to
another, 'Oh my God! Is he alive?'
And they actually came over to
check that I was still actually in this
world. So, in my half-asleep state,

I had to explain to them that I was
waiting to take a photograph."

And yes, he did get the picture.
"It was worth the wait."

Animals are the
greatest subject
matter because
they don’t follow
a script and
provided you’re
open to capturing
whatever
they’re going to
give you, then
you’ll always
get something
unexpected.

;

■

Keeping It True

As Chris puts so much effort into
getting a shot, is he an in-camera
purist or does he do a lot of work
on his images post-camera?

"I shoot with a really flat profile
so I can adjust it later on. But my
attitude is that, as long as you
bring it back to the way your eye
saw it, then that's OK. That's my
rule. It certainly looks a lot flatter
off the camera than the way I saw,
but that's very deliberate because
I think it gives a more true colour
representation if you then bring it
back from there.

" I prefer to keep it all fairly true
and just play with the colours to
bring them to where they should
be. I dunno, I'd kind of feel like
I was cheating if I changed the
actual structure of the shot. And
I think that composition is part of
the art - and part of the beauty of
it - for me. . . and trying to position
yourself to get everything in the
right place. It's amazing just the
subtle differences that a foot in
camera height will make, or a
foot either side will make. And
getting into that perfect spot is
what I enjoy and what I fuss over.

In Tasmania recently I ended up
waist-deep in five-degree water
because I knew that that was the
only spot I could be to get the shot
I wanted."

Chris Brown has now travelled
very widely around the world, but
he says that there are still quite a
few places on his 'bucket list'.

"Quite a few actually. I've never
been to Antarctica. I've never
been to the Galapagos. I've never
seen the Northern Lights... or
the Southern Lights. Because I
spend the vast majority of the year
working, I'm heavily influence by
where work sends me for other
things, but in my free time I go on
a few little trips. Last year I went to
Ecuador and to Greenland. I choose
my holiday destinations around
where I can get some good shots."

And, after animals, landscapes
are the subject that actually
stimulate him the most, although
he also finds being out on location
- and on his own - helps recharge
his creative batteries.

"It's my quiet time," he states.
"That's why I really enjoy being
out in nature, in the middle of
nowhere and being so far removed
from everything else. To be honest,
shooting portraits feels very similar
to what I do work-wise. I just like
that quiet escapism that landscape
photography allows me." r m

24 Camera

ON TRIAL

PHASE ONE

REPORT BY PAUL BURROWS

Five years in the making
and a huge financial
investment. Phase One's
XF is the first 'clean
sheet' modular medium
format SLR platform
since Hasselblad's H 1 was
launched back in 2002.

HIGHER ORDER

If you didn't spend your spare fifty
grand on, say, a shiny new Holden
Commodore (before they run out),
how about splurging it all on one
camera? Well, it's no ordinary camera.
Welcome to the pointy end of the
digital medium format market.

ost photographers who buy
Phase One's XF are going to
be putting it to work which is how
they can contemplate spending
anywhere from $30,000 to well over
$50,000, depending on which model of capture
back is fitted. And that's just with a standard prime
lens. If you want something more exotic - like the
fabulous new Schneider-Kreuznach 35mm f3.5
leaf-shutter wide-angle we had for this test - be
prepared to start adding more big numbers (close
to $9000 in this particular case). But it's all relative,
especially if you have big clients who need you
to deliver optimum quality files and don't mind
paying for them.

Phase One's XF is particularly interesting because
it's the first new 'clean sheet' modular medium
format SLR camera system since Hasselblad's HI
back in 2002... and that was before there really was
such a thing as digital medium format. Of course,
Leica's S2, launched in 2008, was also a new design.

26 I CAMEf$ A

ON TRIAL

PHASE ONE XF

but actually has a smaller sensor
and an all-in-one body design.

Until now Phase One has been
making do with successive (minor)
upgrades of the Mamiya 645AFD
which dates back to the late 1990s.
To be frank, this particular Mamiya
platform was never really much
to write home about - unlike
the film-era greats such as the
RB67 or the original M645 - and
Phase One realised that its ever
more capable capture backs
weren't getting the front end they
deserved. Developing any new
camera is an expensive exercise,
but it's even more so when you're
only going to sell a comparatively
small number each year so the XF
represents a big investment in the
future of digital medium format
photography... and also a big vote
of confidence. And to make sure
it's able to do things the way it
wants to, Phase One has recently
completed the full purchase of
Mamiya - it previously had part-
ownership - which includes the
Japanese manufacturing facility
where the XF is built.

While both Leica and Pentax
also market digital medium format
cameras, Phase One's chief rival
is another Scandinavian company,
Plasselblad. Both offer modular
camera systems based on the
classic box-form body - originally
devised, of course, by Victor

THE XF+IQ3
COMBINATION IS NO
MORE DEMANDING
TO USE THAN ANY
PRO-LEVEL FULL-
35MM D-SLR
AND. ALTHOUGH
PHILOSOPHICALLY
QUITE DIFFERENT.
COMPARABLE TO THE
PENTAX 645Z.

Plasselblad in the late 1940s - but
the Mamiya-based Phase Ones
were falling behind the digital
'Blads, chiefly in terms of the
integration that's possible between
the capture back and the camera
body, but also in convenience
features such as detailed on-
camera LCD info displays.
Additionally, the Hasselblads
offer the all-important capacity
- in pro camera terms - to
interchange viewfinders so the
eyelevel prism can be replaced
with a traditional waistlevel hood
which is often especially useful
in the studio situation.

And it's worth noting at this
point that while Hasselblad's later
digital medium format platforms
have been technically more
advanced than the Mamiyas, from
the H3D to the current H5D, the
company's 'closed loop' policy
has meant that they haven't been
available to the users of Phase

One's backs (or, for that matter,
anybody else's). There's now the
'open' H5X body, but the level of
integration that's possible with
non-Hasselblad backs is still an
issue so clearly Phase One -
without any heritage as a camera
maker - needed to do something
to ensure future competitiveness.

MAKING IT WORK

Starting from scratch, Phase One
has been able to fulfil a number
of the wish lists from its existing
users as well as creating a platform
that's more than capable of match-
ing it with the current - and, more
than likely, future - Hasselblads.

Some aspects of the XF are
endearingly old school - including
the styling - and some are
absolutely contemporary, including
a high degree of future-proofing via
provisions for extensive firmware
upgrades. Additionally, Phase One's
latest generation of IQ3 series

capture backs - released at the
same time - fully leverage the XF's
capabilities via an exceptionally
high level of integration (more
about these shortly).

The XF's angular and edgy
styling is more reminiscent of
Mamiya 's RZ67 than anything else,
although the Phase One actually
isn't quite as bulky. Nevertheless,
it's still quite heavy thanks to the
beefy prism finder and the fact
that all the external covers are
made from aerospace-grade alloys.
It feels in a very different league
to the outgoing 645DF+ body.

The Mamiya 645AF lens mount
is retained, but beyond this the
camera is all Phase One's own
work, including the autofocusing
system. The 90-degree prism
viewfinder is fitted as standard,
but can be interchanged with
an optional waistlevel finder
which, in particular, can be
more desirable in some studio

A 90-degree prism viewfinder is fitted as standard, but
can be replaced with a classic waistlevel finder.

Handgrip is
large and well-
shaped so the
XF handles
comfortably
even with a
fairly bulky
lens fitted.

The bodyshell is entirely constructed
from aerospace-grade alloys and
styled to match the look of Phase
One's IQ series capture backs.

Basic camera operations are
based around three input
wheels for setting apertures,
speeds and sensitivity.

IQ3 series backs offer
a very high level of
integration with the
camera body.

■F 4 + + + -F 4 +

Camera I 27

PHASE ONE XF

ON TRIAL

IQ3 backs have a simple, easy-
to-navigate menu system.
Integration with the XF allowing
for the camera's control panel
to be replicated here too.

Capture review options include
a histogram, guide grids and
highlight warning (which can
be set to a desired level).

Not shown here is a novel
'Exposure Zone' coloured
overlay and selected clipping
warning display to supplement
the highlight warning.

situations. The scene coverage
is 97 percent for both, and the
autofocusing is body-based so
remains available regardless of the
camera's configuration. The prism
finder incorporates both a flash
hotshoe and a PC terminal and,
interestingly, the XF incorporates a

*R£UZN*CH

Profoto 'Air' transmitter for remote
radio-frequency triggering of the
Swedish company's flash units.

A nice little piese of Scandinavian
co-operation.

The XF boasts a good-sized
handgrip atop which is one of
its cleverest features... a large
display panel with a capacitive
touchscreen which works
brilliantly in the field. There are
three input wheels - similar to
a Sony Alpha 7 series body -
which are essentially used to set
apertures, shutter speeds and
the ISO, and can be configured
to do any of these operations.

The direction of each wheel's
rotation can also be changed, but
they can also be locked to avoid
accident adjustment. The control/
display panel - which Phase One
calls the "OneTouch III" - is
accompanied by a pair of long,
rectangular buttons which can
be used for more conventional
selecting and setting duties (if
desired, the touchscreen operation
can be turned off). In fact, all
the XF's external controls can
be customised with the settable
functions including autofocusing,
the AE lock, mirror lock-up and
depth-of-field preview. The
display itself can be switched
between 'Simple' and 'Classic'
layouts - the latter being
more comprehensive
- or customised more
specifically and there's
adjustable backlighting to
vary the brightness. It's
also a multi-coloured display
so, for example, out-of-range
indicators are shown in
red and any auto settings
(i.e. apertures, shutter speeds,
etc) are shown in blue.
Furthermore, the degree of
integration with IQ3 backs -
made possible by a new "High
Bandwidth" interface - allows for
the whole panel to be replicated
in their monitor screens...
obviously again with touchscreen
controllability which even includes
shutter release.

The XF is powered by the
same 3400 mAh BP-series
lithium-ion battery packs as the
IQ3 backs which enables a handy
'Powershare' facility should
one or the other fail mid-shoot.

The flat battery can be replaced
without the system switching
off (but it won't operate with just
one battery). Either component's
on/off button powers up both

PHASEONE

Info display
panel atop
the handgrip
provides touch
screen controls
and multi-
coloured
read-outs.

Top panel view
shows off the
XF's clean and
uncluttered
lines. The
prism finder
incorporates
both a hotshoe
and a PC flash
terminal.

The XF incorporates a completely
new autofocusing system - developed
in-house by Phase One - and based on a
dedicated one-megapixel CMOS sensor.

28 CAMEfy I

ON TRIAL

PHASE ONE XF

components. There are also two
shutter release buttons on the
XF body; one conventionally
located atop the handgrip and
the second, more classically,
positioned alongside the base
of the lens mount where it's
designed primarily for use with
the waistlevel finder and low-
level shooting.

WORKER BEE

On the inside, the XF has a new
TTL autofocusing system based
on a one-megapixel CMOS sensor
designated the HAP-1. As on the
H5D, autofocusing is still only
based on a centralised zone in
the viewfinder, but Phase One's
in-house developed 'PloneyBee
Autofocus Platform' (FIAP for
short) is its answer to Plasselblad's
'TrueFocus' in terms of delivering
enhanced accuracy and speed.

The principle is different, but
the intent is the same; namely to
make the autofocusing work as
efficiently as possible so, within
this central zone, there are actually
1000 'floating' measuring points
with the option of setting Spot,
Average or Plyperfocal AF modes.
As the name suggests, this last
mode allows for the autofocusing
to be fine-tuned to optimise
depth-of-field by focusing on the
lens's hyperfocal point rather
than at infinity. Additionally, focus
calibration is available for up to
32 individual lenses - by serial
number with the later models -
to correct for any front- or back-
focus variations.

Low-light AF assistance is
provided by a built-in 'Precision
White Light' illuminator which has
a brightness adjustment

When the waistlevel finder is
fitted, the HAP-1 sensor provides
not only autofocusing, but also
spot metering so auto exposure
control is retained. Matrix (i.e.
multi-zone) and average metering
modes are available via the prism
finder. The XF has a full set of
'PASM' exposure control modes
backed by an AE lock, up to +/-
5.0 EV of compensation and auto
bracketing over sequences from
two to five frames. Usefully, the
auto setting ranges for apertures,
shutter speed and ISO can be
limited to a preset maximum and/
or minimum so, for example, a
lens's largest or smallest apertures
can be locked out or very slow
speeds avoided when shooting
hand-held.

The XF body incorporates a
focal plane shutter with a top
speed of 1/4000 second while
timed long exposures of up to
60 minutes are possible (and
supported by the IQ3 backs).

Flash sync is at all speeds up to
1/125 seconds, but the Phase One
lens system includes a growing
selection of leaf-shutter types
from Schneider which enable
a maximum sync speed of
1/1600 second.

There's a 'Vibration Delay'
mode which can be preset from
0.5 to 8.0 seconds for shutter
release after the mirror has been
locked up. Commendably, mirror
lock-up now remains engaged
until it's switched off so it doesn't
have to be re-activated after each
exposure. Rather sexier is the
'Seismograph' mode which locks
up the mirror (and locks open the
focal plane shutter with LS lenses)
and then uses the camera's built-in
six-axis gyros and accelerometer
to determine when all vibrations
have died away sufficiently to allow
automatic shutter release. The
seismograph function also shows
how much the camera is vibrating
which can be a bit of a revelation
for anybody who thought that
their tripod was very sturdy and
hence stable.

Phase One says that additional
facilities based on the gyros and
accelerometer will be provided in
the future via firmware upgrades,

mentioned earlier. There are three
models - two with CCD-type sen-
sors and either 60 or 80 megapix-
els resolution, and one with a 50
MP CMOS.

There are some notable
new features, starting with the
'Exposure Zone' tool which
overlays a captured image with
a range of colours that indicate
zones of under- and overexposure
in specific values. It's essentially
the same idea as highlight/
shadow warnings, but a whole
lot more sophisticated and allows
exposures to be then more
precisely fine-tuned as per the
area indicated by a specifically
coloured zone.

Also very neat is the
'Temperature Graph' which maps
the temperature of the sensor
over time so it can be allowed
to stabilize prior to commencing
an exposure. This is especially
important now that exposure times
of up to 60 minutes are possible.
The 'Exposure Calculator' tool is
also primarily designed for low
light or night photography. After a
preview is captured at a high ISO
with a large aperture, the calculator
then determines the exposure
times required at lower sensitivity
settings and/or smaller apertures.

There's also an enhanced
'Exposure Warning' facility which
allows the highlight warning level
to be set, along with its colour,
plus a clip warning with its specific
colour too. Both the IQ2 and IQ1
series backs can be used on the XF
- but require a firmware upgrade

but right now they also drive
a 'Virtual Horizon' display
that's selectable in an IQ3's
monitor screen.

BACKS TO WORK

The IQ3 capture backs have
essentially the same specifica-
tions as the IQ2 series, but have
been designed to fully integrate
with the XF via the new interface

Single memory card slot accepts
UDMA-7 soeed comoli

SOME ASPECTS
OF THE XF ARE
ENDEARINGLY OLD
SCHOOL AND SOME
AREARSOLUTELY
CONTEMPORARY.
INCLUDING A
HIGH DEGRE OF
FUTURE-PROOFING
VIA PROVISIONS
FOR EXTENSIVE
FIRMWARE
UPGRADES.

Camera 29

The 50 megapixels CMOS-equipped IQ3
50 capture back boasts an exceptionally
wide dynamic range, super smooth tonal
gradations and beautifully crisp definition.
Test images taken with the Schneider
35mm f3.5 LS wide-angle lens (equivalent
to a 27mm on this sensor or 21mm in
35mm format terms). Capture file sizes
(in Phase One's losslessly compressed IIQ
format) were typically around 58 MB.

100 %

PHASE ONE XF

ON TRIAL

X img_2445.jpg@100%(RBG/8#)

ONE

Test images made with the IQ3 60 -
which uses a CCD-type sensor show
why there's ultimately no substitute for
bigger pixels, starting with a wide dynamic
range so lots of detail is retained in both
the highlights and shadows, exceptional
levels of overall detailing (not really
possible to adequately reproduce here)
and a velvety smooth tonality.

7 /

ON TRIAL

PHASE ONE XF

new feedback features of the IQ3
backs - especially the 'Exposure
Zone' overlay - are very helpful
and any subsequent fine-tuning
is very quickly and easily applied.
The impression here is very
much of a 'total package' design
approach with everything working
in harmony to achieve the desired
outcome as efficiently as possible.
Consequently, the XF+IQ3

- but obviously none of the facilities
that depend on the 'High Bandwidth'
interface are available, including
power sharing. However, an upgraded
IQ2 back will support the XF camera
controls in their monitor screens and
gain selected IQ3 features such as the
'Exposure Zone' tool. At this point,
the XF doesn't support the IQ2-based
Leaf Credo backs, but backwards
compatibility allows the IQ3 backs to
be used on the Phase One 645DF/
DF+ camera bodies.

PERFORMANCE

The XF immediately scores highly
for both its handling and efficiency of
operation. It's a big camera, but the
well-shaped grip is very comfortable
and the XF feels well balanced even
with a big lens like the new Schneider-
Kreuznach 35mm f3.5 LS wide-angle
fitted. Hand-holding really is quite
feasible, both in physical terms and
how the camera's ergonomics... most
notable, the touchscreen controls.

Operationally, it's chalk and cheese
compared to the previous Mamiya-
sourced bodies and, while Hasselblad
also offers a more contemporary front/
rear input wheel control arrangement,
Phase One goes a lot further. The XF's
third wheel additionally makes ISO
setting immediately accessible, but
the touchscreen does the same for
everything else, and it's completely
intuitive to master. It's also highly
addictive to use, while the option
to doing everything from the back's
screen means the same level of speed
and efficiency is available regardless
of how the camera is being used. The
prism finder is truly fabulous while the

Phase One continues to
expand its lens system
and among the recent
additions is a highly-
desirable Schneider
Kreuznach 35mm f3.5
leaf-shutter wide-angle
(equivalent to 21mm
with the 60 MP and 80
MP sensor backs).

230 240

»nr

"THE XF BOASTS
A GOOD-SIZED
HANDGRIP ATOP
WHICH IS ONE OF
ITS CLEVEREST
FEATORES... A
LARGE DISPLAY
PANEL WITH
A CAPACITIVE
TOOCHSCREEN
WHICH WORKS
BRILLIANTLY IN
THE FIELD."

Camera 31

ON TRIAL

PHASE ONE XF

BUT WAIT, THERE'S MORE...

100 MEGAPIXELS CAPTURE IS HERE

If 50 megapixels and around

$53,000 isn't quite enough for
you, then how about 100 MP
of resolution and a price tag of
just under $65,000? Phase One
is the first to hit the magic 100
megapixels market with a new
IQ3 series capture back which
delivers 101 MPThe image size
is 11,608x8708 pixels which
translates into a massive output
size of 73.2x96.3 centimetres at
300 dpi. The dynamic range is an
impressive 15 stops.

What's more, this 100 MP
sensor is a CMOS device - a

co-development between
Phase One and Sony - and has
a sensitivity range equivalent
to ISO 50 to 12,800. Colour is
processed at 16-bits per RGB
channel to deliver a wider colour
gamut and, quite simply, truly
stunning image quality. If you
want the ultimate in digital image
capture performance, here it is!

A complete camera kit will set
you back $64,900 while the IQ3
100MP back on its own is a mere
$55,000 (and it can be fitted to
other digital medium format
SLR bodies).

combination is no more demanding
to use than any pro-level full-
35mm D-SLR and, although
philosophically quite different,
comparable to the
Pentax 645Z.

We tried the XF with both the
IQ3 60 and IQ3 50 backs, but
concentrated mostly on the latter
given the spotlight on 50 MP
capture across several formats
at the moment. Perhaps the
most ironic aspect of our test is
that the XF can be successfully
used hand-held in situations
where the Canon EOS 5Ds can't
because of sharpness issues -
purely related to the pixel size
and density - related to either
internal vibrations or external
camera shake. For once, a bigger
and heavier camera has benefits.
Less surprising, of course, is that
bigger pixels have benefits too,
and this is most evident in the
exceptionally wide dynamic range
- quoted at 14 stops - delivered
by the CMOS-equipped IQ3
50. Smoother tonal gradations,
crisper definition and a superior
signal-to-noise ratio are the key
enhancements to which can be
added the various performance
advantages of medium format
lenses. For example, Phase One
says its latest 'Blue Line' models -
of which the 35mm LS is one - are
good for capture resolutions of
"beyond" 100 megapixels, but also
aberrations such as diffraction are
less of an issue. The CMOS-based
IQ3 50 also delivers exceptional

low-light performance all the way
up to ISO 6400 which makes its
longer exposure durations quite
useable... and delivers an image
quality that the users of smaller
format camera systems can only
dream about.

THE VERDICT

Not surprisingly, the XF in concert
with any of the IQ3 capture backs
is an expensive proposition, espe-
cially for photographers who aren't
going to be putting their cameras
to work. Selling the superior perfor-
mance remains the key marketing
challenge for all the makers of digi-
tal medium format cameras, but
particularly those whose products
wear the sort of price tags we're
more accustomed to seeing on the
windscreens of new cars.

The differences compared to,
say, the 50 MP Canon D-SLRs
might be easier to justify on a
number of levels, but the Pentax
645Z is harder to argue around
given it's using a similar size and
type of sensor as the IQ3 50.

So we're not going to try to do
it here beyond stating that the XF
is actually much better built, offers
the flexibility of interchangeable
finders and is supported by a
bigger system of dedicated
lenses (many with leaf-shutters),
but whether all this is worth the
substantial extra investment is
harder to determine outside the
context of professional use.

In reality, money can't be the
sole consideration here and it's

more relevant to concentrate on
what the XF offers... which is
an extremely well-thought-out
digital medium format platform
that, beyond the benefits already
listed in the previous paragraph,
delivers exceptional levels of
convenience, efficiency and
functionality. With the XF Phase
One now has a camera body
that's able to match what it has

been offering with its IQ Series
capture backs and Capture One
image processing software for
some time - intelligently designed
products that maximise efficiency
and optimise performance. If
photography is your livelihood,
that's an investment well worth
making. If technical perfection
is your goal... well, it's certainly
worth considering. %

PHASE ONE XF + PHASE ONE IQ.3 50 $52,470

Type: Professional digital medium format
SLR with Mamiya 645AF bayonet
lens mount.

Focusing: TTL automatic via phase-detection
type using one megapixel CMOS 'Honeybee'
sensor array. 'Floating Point Architecture'
processing with Spot, Average and Hyperfocal
modes. Manual switching between one-shot
and continuous modes, full-time manual over-
ride using focusing collar on lenses, low light/
contrast assist via built-in 'Precision White
Light' illuminator. AF micro-adjustment for up
to 32 lenses.

Metering: TTL using one megapixel CMOS
sensor with matrix, average and spot measure-
ments plus TTL flash metering.

Exposure Modes: Program, shutter-priority
auto, aperture-priority auto, metered manual,
and TTL auto flash. Exposure compensation
up to +/-5.0 EV in 1/3, 1/2 or in full stop
increments.

Shutter: Electronic, focal plane type,

60 minutes to 1/4000 second plus B.

Flash sync up to 1/125 second. Schneider
LS lenses have built-in leaf shutter with

flash sync up to 1/1600 second.

Viewfinder: Interchangeable; 90 degree prism
finder is standard. Coverage = 97% vertical/
horizontal. Interchangeable focusing screens
(choice of three). Standard screen has AF
and spot metering area marks. Eyepiece
strength adjustment built-in. Optional waist-
level finder available.

Flash: External units sync via ISO-standard
hotshoe on prism finder or PC terminal.
Integrated Profoto 'Air' RF transmitter for
wireless remote triggering of Profoto studio
flash equipment.

Additional Features: Mirror lock-up with
adjustable vibration delay setting (0.5-8.0
seconds), AE lock, depth-of-field preview,

4.0 cm LCD camera control panel with
touchscreen functionality and customisable
display, dual shutter releases, auto
exposure bracketing (two to five frames),
adjustable setting limits (apertures, shut-
ter speeds and ISO), customisable controls,
remote control terminal, audible signals
(switchable), variable stand-by time-out,

80 custom settings.

DIGITAL SECTION - Phase One IQ3 50
Sensor: 51.4 million pixels, full-frame CMOS
with 33.1x44.2 mm imaging area. Sensitivity is
equivalent to ISO 100-6400.

Focal Length Increase: 1.3x with 6x4.5cm
format lenses.

Formats/Resolution: RAW with lossless com-
pression on IIQ RAW files, two levels (typical
file sizes are 50 MB and 33 MB). 8280x6208
pixels, 48-bit RGB colour.

Recording Media: CompactFlash memory card
with UDMA-7 support.

Continuous Shooting: 1 .8 frames per second.
White Balance: Auto correction, four presets
(daylight, fluorescent, tungsten and flash),
custom measurement.

Interfaces: FireWire 800, USB 3.0, WiFi
(802.1 In).

Additional Digital Features: Wireless remote
control via Capture Pilot app, 1.0 GB of high-
speed buffer memory, 8.1 cm LCD TFT monitor
screen (1.15 megadots), touch screen controls
(menus, browse, zoom, etc), 'Virtual Horizon'
display, histogram display, focus mask function
(for checking depth-of-field and focus), super-

imposed grids (choice of six, also adjustable
for colour and line style), USB 3.0 connection,
FireWire 800 interface for tethered operations,
| automatic rotation for horizontal and vertical
framing, built-in WiFi. The compatible shutter
speed range is 60 minutes to 1/10,000 second.
Dynamic range is 14 f-stops.

, Power: 3400 mAh 7.2 volt lithium-ion battery
pack. 'Powershare' facility available when IQ3
Series backs are fitted.

Dimensions (WxHxD): 152x135x160 mm (cam-
era body with prism finder).

Weight: 1390 grams (camera body with
prism finder).

Price: $52,470 (inc. GST) for complete XF
camera with IQ3 50 capture back, 90-degree
prism viewfinder and Schneider Kreuznach
80mm f2.8 AF LS standard lens. Camera
kit also includes four battery packs, 1 6 GB
CompactFlash memory card and card reader.
The XF IQ3 system is supported with a five
year warranty

Distributor: L&P Digital Photographic Pty Ltd,
telephone (02) 9906 2733, or visit
| www.lapfoto.com.au

32 Camera

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SANDS IN TIME

The Picture

TheTe Paki sand hills, are situated
near the top of the North Island
of New Zealand, not far from
Cape Reinga.This is the largest
publically accessible expanse of
sand in the nation. Every location
needs conditions that offer the best
conditions for camera work and, in
this case, threatening clouds and
bursts of sun light produced the
right combination.

The Photographer

As well as being this magazine's
digital printing expert, Trevern
Dawes is an accomplished
photographer and writer. His
many ventures into publishing
have included a photographer's
guide to the many beautiful
locations in New Zealand which
remains a happy hunting ground
for his camera.

The Equipment

Canon EOS 5D Mark II fitted with a
24-105mm 'general purpose' zoom
lens. A small backpack suitable for
a few hours of photography with
a bottle of water and a poncho to
cover both photographer and pack
just in case of rain. ISO at 200,
aperture priority at f 11 , no need
and no time for tripods.

The Technique

When it comes to sand dunes
by the sea or in the desert, it's
important to protect your camera
equipment. Wind-blown sand
particles can cause problems to
both camera gear and your eyes.
Wear sun glasses by all means.
On this occasion, fortunately the
weather was calm in theTe Paki
sand hills.

34 Camera

Degree Of Difficulty
(Out of 10)

How It Was Done

When such favourable conditions
are encountered, the very first
requirement is to get on location
and try to find the best vantage
points. As the structure of sand hills
is forever changing, any previous
recollections of a big sand hill don't
count as it's hardly likely to still
be there. You feel you'd like to be
everywhere at once, and there is
that urgency to make the most of
the circumstances before the sun is
blocked out completely or the clouds
disperse. Luck plays an important
role but, as with many endeavours,
luck is what you make it.

Tricks Of The Trade

Patience and perseverance are the
key requirements when the light is
changing rapidly. See something or
predict something and the reaction
time often needs to be as quick as
a sporting highlight or a journalistic
event. Framing must be prompt
and instinctive and, if there's only a
brief period of spot lighting, more
than just one shot may be required.
Sometimes the potential lies in
broad scenes and sometimes in
close detail so it's a matter of being
on the lookout for all possibilities.

Difficulty can vary enormously,
depending on conditions. Spot
lighting in landscapes can be a
huge challenge where seeing and
shooting must be a fast and fluid
process. In this case an unusual
minimal landscape with good
shape and colour have come
together nicely and the result is
surely worth at least a '9'.

Can You Try This At
Home?

You may not have sand hills right
on your doorstep, but success in
landscape is all about being in the
right place at the right time. So find
a favourite location and keep going
back to discover when all the key
elements come together to create
a dramatic photograph. Watch out
for the seasonal variations and,
of course, don't be afraid of a bit
of bad weather (because it often
means great looking skies)... or, for
that matter, blowing sand.

CAMEfyk 35

ON TRIAL

HASSELBLAD

CFV 50C CAPTURE BACK

REPORT BY PAUL BURROWS

Is this the most economical route into digital
medium format photography? Just add any
classic 500 Series Hasselblad body to the
CFV 50c capture back and you're ready to go.

camera using
Hasselblad's Phocus
software. It's not
required for the
'digital ready' 555ELD.

Hasselblad 500EL/M
with the CFV 50c
capture back fitted.
Exposure Cable EL
is only needed for
remotely controlling
a tethered motorised

H ASS ft

ou may not
know this, but
digital photogra-
phy began with
interchangeable
capture devices - better known
simply as backs - fitted to existing
medium format SLR bodies. Those
first backs were actually scan-
ners which made for very long
exposures and demanded static
subjects, but we quickly moved
onto area array sensors and the
rest, as they say, is history.

But you may not know this
either - you can still take this
route into digital medium format
photography, fitting a contemporary
capture back to a film-era camera
body. This body has to, of course,
allow for the interchanging of film
magazines so they can be replaced
by the capture back, but there are
still Bronicas, Mamiyas, the Contax
645AR Fujifilm's GX680 models
and a myriad of classic Hasselblads
that can be converted to digital
capture. Ironically, it's Hasselblad
that's pursued a 'closed loop'
policy with its H System, but most
current Phase One and Mamiya

BACK TO FRONT

36 CAMERA

ON TRIAL

HASSELBLAD CFV 50C

Leaf backs can be fitted to the
majority of 120/220 rollfilm SLRs
(excluding some of the oldest
models) via the appropriate
adaptor plate and, in some cases,
a sync cable.

But don't worry, Hasselblad
makes a product specifically for
this application and, what's more,
it's styled to look exactly like one
of its classic rollfilm magazines.
Incidentally, there's now also a
contemporary Hasselblad camera
body - the H5X - which can
be fitted with film magazines
or, indeed, the capture backs
from other manufacturers, but
that's another story. These days,
Hasselblad differentiates between
its H System which is based on
the original 6x4. 5cm format HI
(launched back in 2002) and V
System which encompasses all the
500, 200 and 2000 series 6x6cm
format cameras, dating back to the
pioneering 500C from 1957.

Hasselblad's CFV capture backs
are specifically designed for the
V System bodies, but the earlier
models have all be equipped with
CCD-type sensors, including the
CFV 50. However, the CFV 50c
model has a 50 megapixels CMOS
sensor similar to the device that's
also on offer from Phase One,
Pentax, Leica Mamiya Leaf, as well
as being used in Hasselblad's own
H5D-50c digital camera system.

THE CLASSIC 500
SERIES SLR BODIES ARE
PRETTY AFFORDABLE
THESE DAYS SO EVEN
FACTORING IN BUYING
A COUPLE OF LENSES,
THE SUB-$1 5K CFV
50C IS COMPARATIVELY
AFFORDABLE ROUTE
IN DIGITAL MEDIUM
FORMAT PHOTOGRAPHY.

This means all the advantages of a
big CMOS sensor can be applied
to one of Hasselblad's classic
6x6cm SLRs.

OK, so in reality, you probably
wouldn't press an original 500C
back into service as a digital
camera, but a 1970s-build 500C/M
may well still have plenty of life
left in it, and this is certainly the
case with the later 503 and 501
models, likewise the EL/M and
ELX motordriven bodies. All are
fully mechanical and can be fitted
with metering prisms, but the 503
Series haveTTL-OTF flash metering
built into the camera bodies as do
the motorised 500ELX, 503ELX,
553ELX and the last-of-the-line
555ELD. As all these cameras rely
on leaf-type shutters in the lenses,
flash sync is at all shutter speeds.

If you like the idea of using an EL
'Blad, make sure that any 500EL/M
or 500ELX you look at has been
converted to use standard AA-
size batteries (they originally used

proprietary NiCd cells made by
Varta and now impossible to find).

The 2000 series cameras have
focal plane shutters, but were
never equipped with metering
of any sort. This came with the
later 200 series (starting with
the 205TCC in 1991), but these
cameras weren't built in big
numbers so they're harder to
locate second-hand than the
much more numerous 500 series
models, but all have built-in TTL
metering and aperture-priority auto
exposure control (except for the
entry-level 201 F).

You can also use the CFV 50c
on the SWC superwide (i.e. fixed
lens) cameras from the original
model to the last of the line 905,
although there may be some
optical performance issues with
the older lenses which lack the
later ZeissT* multi-coating.

The good news is that pre-loved
500 series SLR bodies are pretty
affordable (and plentiful) these

days so, even factoring in buying a
couple of lenses, the sub-$15k CFV
50c is a comparatively affordable
route in digital medium format
photography or, more specifically,
Hasselblad digital medium format
photography. This is even more
the case if you're reviving a film
camera kit that's been sitting idle
on a shelf for a while.

CLASSICAL GOOD
LOOKS

As with the previous CFV capture
backs, the 50c is styled to look
exactly like a 6x6cm film magazine
complete with chromed bright-
work and leatherette inserts. It
matches all the detailing on the
camera bodies so only the 7.62
cm monitor screen and buttons on
the back panel are the give-away.
The compartment cover for the
memory card slot is particularly
cleverly done, and its shaping ex-
actly matches the curve of the film
magazines.

Compatibility extends to most

Four-way keypad

I A 762 cm TFT

The CFV 50c is fitted with

500, 200 and 2000 series 6x6cm

is used to

LCD monitor

a 50 megapixels CMOS

Hasselblad SLRs (with, in some

navigate the

screen provides

sensor with a 33x44 mm

cases, a minor modification).

operating menus.

live view.

imaging area.

Camera 37

ON TRIAL

HASSELBLAD CFV 50C

menu. With exposure times longer
than 1/8 second, you encounter
one of the limitations of cable-
free shooting, namely that the
sensor is being exposed to light
both before and after the actual
exposure which can cause colour
shifts and other problems. A hit-
and-miss solution is to increase
the exposure time by between
ten to 20 percent, but a better
solution for anybody regularly using
longer exposure times is to switch
to using the sync cable which
precisely controls when the sensor
is active (but the camera setting
then has to be changed to 'Flash
Sync'). Nevertheless, beyond this,
set-up is very straightforward and
many users probably won't have
to worry about the camera type
setting ever again.

Subsequently, it's a case of
navigating the Settings menu to
configure all the usual items such
as the display options, audible
signals, date and time, and power
management. The CFV 50c's
menus are reasonably logically
arranged and easy to navigate via
a four-way keypad, although why
the all-important Menu/Exit button
is simply marked "o" is a bit of a
mystery. Once you've selected
a function, a plus/minus rocker
switch is used to cycle through

the options. The 7.62 cm monitor
screen takes up most of the back's
rear panel, and while the resolution
isn't quoted in the specs, it's
reasonable to assume it's the
same 460,320 dots TFT LCD panel
as is used on the H5D-50c camera.

LENSES AND
VIEWFINDING

The sensor delivers a maximum
resolution of 8272x6200 pixels (i.e.
51.2 megapixels) and has an imag-
ing area of 32.9x43.8 mm which
represents a focal length magnifi-
cation factor of 1.45x with 6x6cm
format lenses.

The widest-angle lens
available for the V System is the
Zeiss Distagon CF 30mm f3.5 -
fiercesomely expensive in its day,
and still not cheap now - which
becomes a 43.5mm or, then
translated into 35mm terms,
close to a 24 mm. Not really
ultra-wide anymore, but certainly
OK for landscapes, for example.
First though, find your 30mm
Distagon so, more likely than not,
you'll end up with the 40mm f4.0
which is a little more affordable,
especially the older versions. It
effectively becomes a 58mm -
equivalent to around 32 mm in
35mm format terms - so going
down the CFV 50c route does

Memory card
compartment is
concealed behind a
panel which replicates
a detail on the film
magazines. The back
accepts CompactFlash
memory cards and
supports UDMA high-
speed data transfer.

The styling of the CFV 50c
exactly mimics that of the
classic Hasselblad film
magazines complete with
chromed brightwork and
leather-look inserts.

require an optional L-shaped
adapter plate. This moves the
battery connection bay through
a little over 90 degrees into a
near-vertical orientation so the
pack is now located just behind
the camera body's extension, but
still largely positioned under the
capture back. This adaptor is also
required when using the CFV back
on the SWC cameras.

While it adds a bit more
visual bulk, it doesn't have any
adverse effect on the handling
or operations such as getting the
camera on or off a tripod head.

GETTING STARTED

There is a small, but critical set-
up requirement which involves
making a setting in the back's
menu for the particular type of
camera in use - i.e. 'ELD', 'ELX',
'500' or '200' - primarily because
the shutter sequencing varies from
model to model. Without the cor-
rect camera type setting selected,
the back and body simply won't
talk to each other. By default, the
back is set to a slowest exposure
time of 1/8 second so, if you know
that you're going to be shooting
with longer exposures, a new
limit needs to be preset in the

In many circumstances the
operation is cordless (i.e. a sync
cable isn't needed), a first for
V System bodies and made
possible by utilising the same
mechanical tab linkage used in
the film magazines. In the film
backs it served to detect whether
the darkslide had been removed;
locking the shutter if it hadn't.

On the CFV 50c it essentially
'wakes up' the digital back in
readiness for an exposure to
be made. This applies to all the
'analog' 500 series models from
the 500C to the 553ELX. If you
want to go further and control
the camera remotely (i.e. from a
computer in a tethered situation)
via Hasselblad's Phocus software,
then the supplied Exposure
Cable EL is required for the EL/M
and ELX motorised cameras; or
the Exposure Cable 503CW for,
logically, the 503CW when it's
fitted with the Winder CW.

Obviously, the non-motor
500 cameras can't be remotely
controlled from Phocus, and the
2000/200 models all require a flash
input cable to sync the shutter
release with the digital back.
However, the 200 Series models
can be modified to allow cable-free
operation. In other words, one way
or another, the CFV 50c allows
the convenience of cable-free
operation with pretty well any V
System camera body.

Power comes from camcorder-
style battery pack which clips
to the back's base. However,
the EL cameras all have a rear
extension from their own battery
compartments which prevents
this happening, so these models

The EL motorised cameras
require the use of an optional
battery adapter plate to clear
the camera's own battery
compartment housing.

38 Camera

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with the same sharpness and resolution as a fixed
focal length lens. Fast and silent 'hyper sonic’ auto
focus captures every image, incredibly sharply,
in an instant. It’s rugged, ergonomic, beautifully
constructed from Thermally Stable Composite.

It has the feel of an exceptional quality lens.
Because it is.

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HASSELBLAD CFV 50C

ON TRIAL

HASSCtBlAD

THE LEVEL
OF DETAILING
MAINTAINED AT
THE HIGHER ISOs IS
ANOTHER RENEFIT
OF THE BIGGER
SENSOR VERSUS.
SAY. A D-SLR WITH
A FULL-35MM
FORMAT IMAGER.

mean some limitations on wide-
angle lens capabilities. This is also
true when using it on the SWC
cameras with their fixed Zeiss
Biogon 38mm f4.5 lenses. And the
prospect of any new wider-angle
V System lenses from Hasselblad
(or, indeed, anybody else) is
approximately zero. While we're
here, another issue is that the
sensor isn't square (and it doesn't
rotate) so you can either select
this aspect ratio in the Custom
Options menu, thereby introducing
another cropping factor, or live with
mostly shooting in the horizontal
orientation... classic Hasselblads
having never been designed with
vertical handling in mind. It's easier
to use one of these cameras in the
vertical if it's mounted on a tripod,
and this is where the live view
function really comes into its own
as you can by-pass the viewfinder
and use the monitor screen
instead. However, when using
the finder, the back is supplied
with a dedicated Acutematt split-
image focusing screen which has
masking for the full sensor area
and the cropped square image.

Live view wasn't initially available
as a standalone feature, but all CFV
50c backs shipping now have the
necessary firmware upgrade.

Hasselblad's 'Instant Approval
Architecture' system provides both
visual and audible confirmation of
good exposures. Alternatively, the
preview options include the option

of separate RGB histograms or a
combined RGB graphic or, thirdly,
a brightness histogram over which
are laid the RGB channel traces.
There's also the choice of a full
screen preview or a standard
preview which includes the file
number, basic capture information
(i.e. ISO and WB) and a number
of indicator tiles - relating to the
control panel - for performing
subsequent actions. Browsing
is via the navigator keypad and
there's a zooming function with
an insert view providing a position
reference, a nine-image thumbnail
screen or a folder view.

With its big 5.3 micron pixels,
the CMOS delivers an extended
sensitivity range equivalent to
ISO 100 to 6400, and a massive
14.5 stops of dynamic range. The
maximum exposure duration is
12 minutes and the continuous
shooting speed is 1.5 fps, but
obviously only single-shot
capture is possible with the non-
motorised camera bodies. The
CFV 50c captures 16-bit RAW
files in the Hasselblad 3FR format
with the option of appending
one-quarter resolution (i.e. 12.5
megapixels) JPEGs. This is
another consideration for anybody
contemplating a move up to digital
medium format photography
- RAW capture is mostly the
norm and these files need to be
processed post-camera which
demands time and a big increase
in your storage capacity.

PERFORMANCE

We tested the CFV 50c on a
1982-vintage 500EL/M which
obviously required fitting the
battery adapter plate. After a little
toing-and-froing with creating the
camera type setting, we were off
and running with no further prob-
lems. It's as simple as switching
on the back, selecting the desired
ISO and white balance (there's a
choice of presets or manual colour
temperature settings from 2000 to
10,000 degrees Kelvin), and then
setting the apertures and shutter
speeds on the lens. You can use
the back as an exposure 'meter',
determining exposures by trial
and error, but it's probably much
quicker to simply use a hand-held
meter (assuming the camera isn't
fitted with a metering prism).

Returning briefly to the
discussion of lenses, various
corrections for most Zeiss CF, CFE,

CFi, F and FE lenses are available
in Phocus which overcomes some
of their film-era performance
characteristics and deficiencies.
These comprise distortion,
lateral chromatic aberrations and
vignetting. Phocus also has moire
pattern removal and Hasselblad's
one-size-fits-all 'Natural Colour
Selection' profile (which analyses
image content) to determine the
most suitable reproduction and
correction. You can use Adobe
Lightroom for processing the
3FR RAW files, but the all-
important DAC lens corrections
aren't supported. We've now
experienced this 50 MP CMOS
sensor in various capture devices
including the Pentax 645Z and
Phase One IQ3 50, but each
obviously uses different processors
to manage digitisation and noise
reduction (performed on-chip),
and compression and colour
management. This amount of
resolution delivers lots of crisply-
defined fine detailing, and the
wide dynamic range - particularly
impressive in terms of the
shadows - once again proves the
value of big sensors with big pixels.

The colour reproduction,
once Phocus has done its stuff,
is exceptional and surprisingly
transparency-like, a quality that's
perhaps partially down to the
contrast and colour of vintage
Zeiss optics. Noise levels are
negligible up to ISO 1600 and still
acceptably low at ISO 3200 and
6400, sensitivity 'speeds' you
could never explore when a film
magazine was attached to your 500
series SLR body. And while the
CCD-equipped back struggled at
ISO 800, even at ISO 6400 the 50c
looks better. The level of detailing
maintained at the higher ISOs
is another benefit of the bigger
sensor versus, say, a D-SLR with a
full-35mm format imager.

Not surprisingly, there can be
some lens performance issues -
chromatic aberrations and colour
shifts - which the DAC correction
in Phocus deals with effectively.

It's probably self-evident, but the
Phocus software is very much part
of the whole package as far as the
CFV 50c is concerned.

THE VERDICT

Marrying mechanical cameras
with their origins in the 1950s with
the latest in 21st century digital
capture technologies is never

isft m OO

Whit* bitiiH* KbiH*i
Eipukit* timt wt.

Quality ►

►

te ►

The control panel is simplicity
itself. All navigation and setting
operations are performed via the
combination of four-way keypad
and plus/minus rocker (seen
at centre). The menu system
is easy to navigate. Note the
default setting for the maximum
exposure duration.

Preview options comprise (from
top) an image overlaid with
RGB histograms, an image
with a full set of histograms
(brightness shown by the grey
background graph), or a set of
RGB histograms accompanied by
basic capture details.

Zooming function assisted by
an inset image with a reference
target.

40 Camera

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HASSELBLAD CFV 50C

X img_2445.jpg@100%(RBG/8#)

Test images captured as 3FR RAW
files and processed asTIFFs in Phocus.
Hasselblad 500EL/M with Zeiss Planar
80mm f2.8T* and Distagon 50mm f4.0
lenses. The benefits of a big sensor with
big pixels are evident in the dynamic
range, tonal gradations and low noise
across the sensitivity range. Compared
to the previous CCD-equipped CFV back,
the new 50c delivers a superior image
quality at ISO 6400 than it did at ISO 800.
Hasselblad's 'Natural Colour Solution'
profiling delivers excellent colour fidelity
across the spectrum.

Camera 43

Type: Fully portable digital camera back for
one-shot RGB capture.

Supported Cameras: Hasselblad V System (i.e.
most 500-series models since 1957). The 2000
and 200-series models with some limitations.
View and wide-angle cameras via V System
adaptor plate.

Sensor Type/Size: CMOS, 32.9x43.8 mm.
Number of Pixels: 50 million (6200x8272 pixels).
Focal Length Conversion Factor: 1.45x with
6x6cm format lenses.

A/D Conversion: 16-bit per RGB colour.

Storage Medium: CompactFlash memory cards
with UDMA speed support.

Data Compression: Lossless on Hasselblad 3F
RAW files. Typical file size is 65 MB. JPEG com-
pression on 12.5 megapixels 'print ready' files.
Sensitivity Range: ISO 100 - 6400.

Shooting Speed: 1 .5 frames per second.

White Balance: Presets for Daylight, Cloudy,
Shade, Flash, Fluorescent and Tungsten. Manual
colour temperature setting from 2000 to 1 0,000
degrees Kelvin. Custom setting via grey card.

Power Source: Rechargeable 8.4 volts lithium-
ion battery.

Features: Styled to replicate the look of a classic
V System film magazine, cable-free connec-
tion, 7.62 cm TFT LCD monitor (460,320 dots),
live view, real-time histogram, overexposure
indicator, 'Hasselblad Natural Colour' generic
profile, 'Instant Approval Architecture' visual
and audible feedback indicators, FireWire 800
connection, long exposures up to 12 minutes,
digital lens correction for Zeiss lenses (distor-
tion, lateral chromatic aberrations and vignett-
ing) in supplied Phocus software, 14 stops of
dynamic range.

Dimensions (WxHxD): 91x92x57 mm
Weight: 530 grams (excluding battery pack
and memory card).

Price: $14,990 which includes Phocus software,
dedicated focusing screen and Exposure Cable
EL. L-shaped battery adapter plate costs $440.
Distributor: C.R. Kennedy & Company Pty Ltd,
telephone (03) 9823 1555, or please visit
www.hasselblad.com.au

mmm hasselblad cfv 50c

THE 500 SERIES
HASSELBLADS WERE
HUGELY POPULAR
FOR LOTS OF GOOD
REASONS, SO THE IDEA
OF REVIVING THEM AS
A WORKABLE DIGITAL
CAMERA IS NOT ONLY
FEASIBLE, BUT VERY
ATTRACTIVE.

going to be without compromises, but
in practice Hasselblad has done a very
good job of minimising them.

The CFV 50c is a truly cable-free
solution on the 500 series bodies
which probably represent the majority
of host cameras given their popularity
in the day and plentiful supply now.
Consequently, for many potential
buyers, the in-the-field experience
actually isn't all that different to
shooting with rollfilm. Certainly the
handling and basic camera operations
are unchanged and, of course, the
visual integration of the old and the new
is very well done.

The smaller (than 6x6cm) sensor
size and its aspect ratio aren't
issues unique to Hasselblad and
are the same if you choose to fit
the Phase One or Mamiya Leaf
50 MP CMOS-equipped backs
to a V System camera body. The
simplest solution in many cases
will be to shoot in the landscape
format and then crop the image
later on as required given there's
plenty of 'room to move' in terms
of the resolution. It's also worth
noting that, compared to the Phase
One and Mamiya Leaf products,
the Hasselblad back is hugely
affordable, even more so if you
already have the bodies and lenses.
The Pentax 645Z is more affordable
again (and, it has to be said, much
more capable), but start adding up
the purchasing of a couple of lenses
and the difference actually isn't all
that great in the end.

The 500 series 'Blads were
hugely popular for lots of good
reasons, many of which still apply
today, so the idea of reviving them
as a workable digital camera is not
only feasible, but very attractive.
Thus, the great joy of the CFV 50c
is being able to use the likes of
the 500C/M and 500EL/M again
and re-acquaint yourself with just
how right these cameras still
feel. Despite how much camera
tech has arrived since, the classic
Hasselblads provide a degree of
comfort and convenience that
belie their fully manual operation...
no wonder they remained in
production, in one form or another,
for 56 years. There's a lesson in
there somewhere.

HASSELBLAD CFV 50C $14,999 capture back only

VITAL STATISTICS

ON TRIAL

PENTAX

REPORT BY PAUL BURROWS

PENTAX 645Z

Pentax's medium format
D-SLR has a '645' format
CMOS sensor which
delivers conveniences
such as live view and a
number of performance
benefits, including Full HD
video recording.

MEDIUM
WELL DONE

Nearly two years down the track, the
Pentax 645Z is still the most affordable
route into digital medium format
photography... and it also remains the
best-featured '645' D-SLR on the market.

hen we first road-tested the Pentax
645Z we suggested that the ultra-
high resolution full-35mm format
D-SLRs were making the extra
investment in the bigger sensor
camera harder to justify.Time suggests that the
more relevant comparison is with the alternative
digital medium format systems that are also built
around a 50 megapixels '645' format CMOS sensor.
For starters, nobody gets close to the Pentax's
price tag - now a little over $10,000 for the camera
body - and nothing released since can match it for
features or specifications which are closer to those
of a high-end smaller format D-SLR than anything
else. What's also working in the 645Z's favour is that
the price gap to the full-35mm D-SLRs with 50 MP

44 I Camera

ON TRIAL

PENTAX 645Z

on tap isn't all that great, especially
when the performance benefits of
having bigger pixels are taken into
account (something that's helping
validate digital medium format
cameras across the board... even
the really pricy ones). Additionally,
Ricoh - custodian of the Pentax
brand these days - has been
working overtime to expand its
system of digital-era lenses for
the 645Z, the one area where
both Phase One and Hasselblad
have had a definite advantage. The
original 645D - predecessor to the
645Z - essentially launched with
just one dedicated lens (sound
familiar?), but now there's not
only a wider selection of models
specifically for the 645D/Z, but
also the once hard-to-get 645N
lenses - mostly only available in
Japan - are distributed globally.

This has created a system of 17
lenses spanning 28mm to 400mm
(equivalent to 22mm to 315mm)
and including six zooms and a true
macro. The newer digital-era DFA-
series features such as the SDM
built-in focusing motors, weather-
proofing and image stabilisation.

Traditionally, even in the days of
120/220 rollfilm, medium format
cameras were quite utilitarian in
their specifications, the emphasis
being on functionality rather
than frills. This continues into the
digital era and the key control
systems - i.e. for focusing and
exposure - can still be surprisingly

NOTHING IN THE
DIGITAL MEDIUM
FORMAT WORLD
GETS CLOSE TO THE
PENTAX’S PRICE
TAG AND NOTHING
RELEASED SINCE
CAN MATCH IT
FOR FEATURES OR
SPECIFICATIONS.

rudimentary. Pentax actually
took a different course with its
6x4. 5cm film 645 - launched in
1984 - which introduced a hitherto
unprecedented level of automation
to the sector; something that's
continued with the 645D and is
even more the case with the 645Z
which remains not only the best-
featured digital medium format
camera on the market - by a
significant margin - but its systems
and features are comparable with
the current higher-end APS-C' and
full-35mm format D-SLRs. It's still
more expensive than anything in
these smaller classes, but if the
pursuit of absolute image quality
is your primary goal then having a
sensor that's 1.7x times larger than
a full-35mm imager - and in the
order of 2.5x larger than APS-C' -
makes the price difference easier
to justify.

Like Hasselblad, Leica and
Phase One, Ricoh has adopted a
CMOS-type sensor for the 645Z
because it delivers a number of
performance benefits, among
other things, faster continuous

shooting speeds (although this
is still relative, compared to the
smaller formats), live view and Full
HD video recording... all of which
help make digital medium format a
more attractive proposition for the
non-professional user.

The 645Z further builds on
the CMOS-derived performance
enhancements by inheriting most
of the advanced control systems
and features from the Pentax K-3
II, Ricoh's current APS-C' D-SLR
flagship. It's a luxury no other
maker of digital medium format
camera systems has, and it
turns the 645Z into a truly
formidable machine.

PIXEL POWER

The Pentax's '645' format CMOS
is essentially the same device
that Hasselblad uses in its H5D-
50c camera and CFV-50c capture
back, and Phase One employs
in its IQ1 50, IQ2 50 and IQ3 50
backs. It has an imaging area of
43.8x32.8 mm and a total pixel
count of 53 million. The effective
pixel count is still a massive 51.4

MP which delivers a maximum
image size of 8256x6192 pixels.
More importantly, the pixel size is
5.3 microns which helps contribute
to a dynamic range of 14 stops
and a native sensitivity range
equivalent to ISO 100 all the way
to 204,800... and that maximum
is achieved without any expansion
processing which is significant.
Furthermore, Ricoh makes
sure every drop of resolution is
squeezed out of this sensor by not
using a low-pass filter. Instead,
the Pentax 645Z has the same 'AA
Filter Simulator' system that was
introduced in the K-3 and is also
used in the K-3 II.

The AA Filter Simulator'
system is essentially a mechanical
solution using sensor shifting, but
working in the reverse to image
stabilisation. Instead, the sensor
is shifted very fractionally in order
to introduce the slight blurring

LCD monitor screen has tilt
adjustments. The 8.1 cm panel has
a resolution of 1.037 megadots.

Keplerian telescopic trapezoid prism
type viewfinder helps keep the size
down. The big view is epic.

Rear control layout is very
similar to that of a high-end
APS-C' or full-35mm D-SLR.

*1 Monitor-based info
display can be set to one
J of 12 colour schemes.

Camera 45

PENTAX 645Z

ON TRIAL

or 'filtering' needed to counter
moire patterns. There are three
settings - 'Off' which is obviously
for prioritising resolution; 'Type
1 ' which is designed to balance
resolution and moire correction
by shifting the sensor in a linear
direction; and 'Type 2' which
oscillates the sensor in a circular
motion in order to optimise the
blurring effect and, as a result,
moire correction.

The 645Z's image capture
options comprise JPEGs in four
sizes and three compression
levels, 14-bit RGB RAW files
recorded in either the Adobe
DNG or PEF formats, and TIFFs.
RAW+JPEG capture can be
configured for any JPEG size and
quality setting. The sensor is mated
with Pentax's 'PRIME III' high-
speed processor which enables
Full HD video and continuous
shooting at up to 3.0 fps.This may
not seem very fast compared to
the latest D-SLRs and mirrorless
cameras, but it's not so bad in

THE BEST QUALITY
JPEGS EXHIBIT A
LEVEL OF DETAILING
THAT'S TRULY
DRAMATIC AND
EVERYTHING STAYS
CRISPLY RESOLVED
EVEN WITH VERY

digital medium format terms and
it's worth remembering that even
the JPEGs are around 25 to 30 MB
in size depending on the image
content. The burst lengths are
quite respectable - 30 frames with
JPEG/large/best capture and ten in
RAW mode.

The 645Z has dual SD memory
card slots which support both HC
and XC types as well as UHS-I
speed data transfer plus Eye-Fi
and FLU cards for wireless data
transmission. The two slots can
be set up in a variety of ways,
including simultaneous saving to
both (which creates a back-up) or
the separate saving of RAW files
and JPEGs. It's also possible
to copy images from one card
to another.

As just noted, the 645Z can
also record video and it uses
close to the whole sensor for this
(a small outer area is reserved
for image shifting with electronic
image stabilisation) so the depth-
of-field can be even shallower
than it is with the full-35mm or
'APS-C' format.

BIG VIEWS

Another major benefit of a CMOS
sensor is live view which is now
taken for granted with the smaller
formats, but is comparatively new
in the digital medium format world.
The 645Z makes the most of this
facility by having an LCD monitor
screen that's adjustable for tilt,
either up or down. Additionally,
it's a large 8.1 cm, 3:2 aspect ratio
TFT LCD panel with a resolution
of 1.037 megadots, and also
adjustable for brightness, colour
balance and colour saturation.

The optical viewfinder employs
a trapezoid-shaped pentaprism
- because it's more compact
than a conventional type - and
provides a scene coverage of 98
percent. The standard 'Natural
Bright Matte' focusing screen
can be interchanged with one of
four alternatives and it's an easy
D-l-Y procedure. Even compared
to a full-35mm D-SLR, the 645Z's

BIG ENLARGEMENTS
(JUST LIKE MEDIUM
FORMAT FILM).

r i

PENTAX

Built-in stereo
fl mics have auto
and manual level
;J control, the latter
over 20 steps.

Bodyshell comprises
magnesium alloy
covers with a total of
76 weather seals.

Main mode dial
has provisions
for accessing
three user
set-ups.

Extra 'Sv' and 'TAv' exposure
control modes are borrowed
from Pentax's 'APS-C' D-SLRs.
Selector switch located below
is for the metering modes.

Massive LCD
read-out panel
supplements
monitor-based
displays.

-T 4* 4* 4-

viewfinder is truly huge and quickly
addictive so that anything smaller
starts to feel quite claustrophobic.

Externally, the 645Z looks
quite imposing, but in terms of
its overall bulk, it's actually not
vastly different from either Nikon's
D4S or Canon's EOS-1 D X. The
substantial handgrip is comfortable
to hold, but this is definitely a
two-handed camera even with

one of the system's smaller lenses
fitted. The control layout is based
around a main mode dial with front
and rear input wheels and various
function buttons. On the handgrip
side these are for sensitivity,
exposure compensation and the
AE lock while, on the opposite
side of the pentaprism housing is
a line-up of four buttons for the AF
area modes, instant switching to

MOVitS

DATE SCENE TAKE

Time lapse recording is also

available and at the 4K resolution
of 3840x2160 pixels too (without
sound obviously), but since
Motion JPEG compression is
used here, the resulting AVI files
are huge.

Ricoh has always trod
cautiously where video is
concerned so it's perhaps not
surprising that the 645Z doesn't
have 'normal' continuous 4K
shooting which would have
made it really interesting...

as would an uncompressed video
feed to its HDMI connector and
aids such as a zebra pattern
generator.

Consequently, the attractions
of the bigger sensor aside, this is
still primarily a stills camera.

46 Camera

ON TRIAL

RAW capture, setting up the auto
exposure bracketing and locking
the rear input wheel.

Most of the top deck is taken
up with a huge monochrome read-
out panel which is angled towards
the user. There's a new - well,
actually repurposed - selector
for switching between still
photography and video shooting
plus, on the rear panel, a new
button for either engaging live view
or, in the video mode, starting and
stopping recording.

The rear panel layout is actually
quite similar to that of any smaller
format D-SLR and is centred
around a four-way keypad which
is used for all navigational duties,
including moving the focusing
point. Each of the keys also have
their own functions, providing
direct access to the drive modes,
white balance settings, flash
modes and 'Custom Image'
presets (more about these
shortly). Pressing an adjacent
button switches them between AF
point duty and their other roles.

A 'Status Screen' display in the
main monitor shows all the main
AF and AE settings and there's a
'Control Screen' which provides
quick access to a range of capture-
related functions. Another option
here is a large dual-axis 'artificial
horizon' level display (but less
intrusive bar-type level displays are
provided in live view).

TAKING CONTROL

The 645Z's bodyshell comprises
magnesium alloy covers with a
total of 76 seals at the various
junctions and joints to protect
against the intrusion of moisture
or dust. Additionally, the body is
insulated in key areas such as the
battery compartment to enable
operation to continue down to -10
degrees Celsius. Underneath is a
diecast aluminium chassis and the
lens mount is stainless steel.

The 645Z's control systems
start with an 86,000 pixels RGB-
sensitive metering sensor. In
conjunction with the AF system,
this delivers what Ricoh calls 'Real
Time Scene Analysis' metering
which is designed to determine
most appropriate metering
weighting for a given subject
or scene (exactly like Nikon's
'Scene Recognition System').
There's the option of either
centre-weighted average or
spot measurements.

PENTAX 645Z

3 3 4

0-Rjnge St Uingt

t *

ISO AUTO Setting

High-lSO m

Slew Shutter Speed NR

Program Lint

■Mi.

GPS

'tDEsit

The menu design is the same
as that used in Pentax's current
'APS-C' D-SLRs with self-
contained pages within each
chapter.

IflU 34

0 -Rings Settings

C |

ISO AUTO Selling

(yTBi

High -ISO Nft

Slow Shutter Speed NR

■hhtft jTrniH

Em |

GPS

GUCancel

2»0K

Sub-menus are accessed via a
right click. Shown here are the
program line options.

AF Active Area
Alto 127 AF PomtsJ

»Q 40*

r i

tm:

retfl IS

msm

2U1Q/20J4 12:42

The Control Screen provides
quick access to a range of
functions in both the still and
video modes.

The live view display
components include a real-
time histogram, dual-axis level
indicators (top right corner),
grid patterns and exposure
level/compensation scale.

As on the smaller format Pentax
D-SLRs, the standard choice of
'PASM' exposure control modes
is supplemented with a couple of
different methods of doing things.
The first is Sensitivity-Priority
AE - marked as 'Sv' on the mode
dial - which allows for the ISO
setting to be changed on-the-fly
via the 645Z's rear input wheel
and the exposure settings are then
changed accordingly. The second is
called Shutter & Aperture-Priority

AE - marked 'TAv' on the mode
dial - and it's essentially an auto
ISO control in that the ISO setting
is automatically changed in order to
maintain a particular combination
of aperture and shutter speed
as light levels vary. The program
exposure mode can be customised
via a selection of six aperture/
speed selection lines, namely
Auto, Normal, High Speed Priority,
Depth-Of-Field Priority - Deep,
Depth-Of-Field Priority - Shallow
and MTF Priority. These are all

The image review screens
include (from top) brightness
histogram, capture data or RGB
histograms.

Further screen overlays for
Parameter Adjustment and
Moire Correction are also
available.

pretty self-explanatory, but the
MTF Priority setting optimises
the aperture selection to match
the attached lens's MTF curve (as
obtained from the lens's CPU).
Program shift is possible in all
settings and with either aperture or
shutter speed priority, depending
on whether the front or rear input
wheel is used. There's also the
option of 'Hyper' switching in
both the program and manual
modes. In program mode, turning
the appropriate control wheel
automatically switches the 645Z to
either aperture-priority or shutter-
priority auto operation... and the
info display changes, for example,
from 'P' to 'Hyper Av'. In manual
mode, pressing the 'green-dot'
button on the camera's back panel
sets the exposure as it would be
determined in the program mode
and this can then be used as the
starting point for fine-tuning.

The auto and semi-auto
exposure control modes
are backed by an AE lock,
compensation up to +/-5.0 EV
and auto bracketing which can be
set to operate over sequences of
two, three or five frames with an
adjustment of up to +/-2.0 EV per
frame. The shutter has a speed
range of 30-1/4000 second and
it's tested to 100,000 cycles. Flash
sync is at speeds up to 1/125
second, but the 645Z doesn't have
a built-in flash. External flash units
sync via either a hotshoe or a PC
flash terminal.

SHARP SHOOTING

The autofocus system uses the
'SAFOX 11 ' module which has a
total of 27 focusing points, 25 of
them cross-type arrays arranged
in a 5x5 pattern. Here, compared
to its digital medium format
rivals, Ricoh has the advantage
of Pentax's long involvement in
autofocusing so the 645Z has
the most sophisticated AF
system in this category by a
significant margin.

The three focusing points
in the very centre of the frame
(arranged vertically) work with f2.8
speed lenses and the system's
the sensitivity extends down to
EV -3.0 (at ISO 100). Low light
assist is provided by a built-in LED
illuminator. Switching between
single-shot and continuous
operation is done manually and
there's an extensive choice of
AF area modes with auto point

Camera 47

Test images captured as JPEG/large/
best files with 55mm f2.8 SDM standard
lens. Resolution is exceptional as is the
dynamic range which is still good at ISO
settings as high as ISO 3200 or 6400.
Noise is negligible up to ISO 1600 and
commendably low up to ISO 6400.

selection over one, nine or the full 27
points and manual point selection over
one, nine, 20 or the full 27 points. In
each case, the point clusters can be
moved around using the navigator
keypad. Furthermore, in the Custom
menu, the single-shot AF mode can be
set to either focus-priority or release-
priority (i.e. the shutter will still fire
even if the subject isn't in focus) while
the continuous AF mode can be set
to focus-priority, fps-priority or auto
switching between the two. It's also
possible to determine continuous
AF operation for the first frame -
again focus-priority, release-priority
or auto switching. Focusing tracking
is supplemented with a 'Hold AF'
adjustment - also found in the Custom
menu - which has four settings from
'Off' to 'High' to vary whether the
system stays locked on to the subject
regardless or will refocus on a new
subject, depending on the period
of interruption.

In live view or when shooting video,
the 645Z relies on contrast detection
measurements from the sensor which
is much slower often making manual
adjustment a more attractive option.
Assistance is provided a focusing
peaking display and/or a magnified
image. The Pentax's white balance
control options include the 'Multi
Auto WB' measurement that was
originally devised by Ricoh for its CX
series higher-end compacts and the
GXR system. This employs multi-point
measurement to better handle scenes
which include a number of different
light source, essentially by determining
an average colour temperature.
Additionally, the 645Z also has Pentax's
'ColourTemperature Enhancement'
(CTE) auto mode which increases the
predominant colour in an image rather
than trying to correct for it. There is
a total of nine white balance presets
- including four for different types of
fluorescent lighting - and provisions
for storing up to three custom
measurements. Three manual colour
temperature settings - selected from
a range of 2000 to 10,000 degrees
Kelvin - can also be stored. Fine-tuning
in the blue-to-amber or magenta-to-
green colour ranges - over a range
plus/minus seven steps - is available
for all the WB presets, the custom
settings, the manual settings, and both
the CTE and Multi Auto modes.

IN THE PICTURE

The selection of options for processing
JPEGs in-camera again makes the
645Z unique in the digital medium

format world where, in some cases,
even the existence of JPEGs is barely
acknowledged.

There's a total of 11 'Custom Image'
picture presets which are called Bright,
Natural, Portrait, Landscape, Vibrant,
Radiant, Muted, Bleach Bypass,

Reversal Film, Monochrome and Cross
Processing. Each of the standard colour
modes is adjustable for saturation, hue,
sharpness, contrast and high/low key.
This last parameter varies the image
brightness over a range of plus/minus
four steps. Adjustments to both the
colour saturation and the hue are made
within a RGBCMY colour hexagon
display which shows the variations in
colour space terms.

The Bleach Bypass preset replaces
the hue adjustment with a range of
eight coloured toning effects (with
green as the default) while the Reversal
Film preset only has an adjustment for
sharpness, but the colour saturation
and contrast are already boosted to
replicate the look of transparency
film. The Cross Processing mode has
a Random setting, a choice of three
preset effects and provisions for storing
three favourite effects.

The Monochrome 'Custom Image'
has adjustments for sharpness,

Camera 49

PENTAX 645Z

IF THE PURSUIT OF
ABSOLUTE IMAGE
QUALITY IS YOUR
PRIMARY GOAL THEN
HAVING A SENSOR
THAT'S 1.7X TIMES
LARGER THAN A
FULL-35MM IMAGER.
AND IN THE ORDER OF
2.5X LARGER THAN
'APS-C', MAKES THE
EXTRA INVESTMENT
EASIER TO JUSTIFY.

ON TRIAL

PENTAX 645Z

Connection bay includes

Dual card slots support SDHC and SDXC
I devices with UHS-I speed data transfer. Eye-fi
I FLU wireless cards can also be used.

&03

Lens selection now
comprises 17 models, a
mixture of film-era 645N
models and later digital
645D/Z types.

The 645Z may
look imposing,
but it actually
handles very
comfortably.

contrast and high/low key plus
a set of contrast filters and a
selection of toning affects. The
filters are yellow, orange, red,
green, magenta, blue, cyan and
infrared while the toning effects
range from cold-to-warm (i.e.
blue-to-sepia) over plus/minus four
steps. The visual effects of each
preset - and any fine-tuning - can
be gauged via the camera's 'Digital
Preview' function which captures
a preview image and displays it
regardless of whether live view
is activated or not. This is done
by flicking the power switch to a
preview position (it can also be
set for an optical preview... a.k.a.
depth-of-field preview) and you can
then chose to save this image to a
card or discard it.

CREATIVE PROCESSES

There's an impressive collection
of 19 special effects which are
available post-capture to edit
files. These include the usual
suspects such as Toy Camera,
Retro, Miniature, Soft, Fish-Eye,
Pastel, Sketch and Posterisation,
plus others such as Shading,

Invert Colour, Unicolour Bold
and Bold Monochrome. There's
also a 'Base Parameter Adjust'

setting which enables the image's
base brightness, saturation, hue,
contrast and sharpness to be fine-
tuned. Incidentally, these various
effects can also be appended to a
RAW file and subsequently applied
when the image is processed
post-camera.

Multi-shot HDR capture
is available and records three
frames with a choice of adjustable
bracketing values from +/-1.0 to
+/-3.0, auto adjustment or three
'strength' settings called HDR1,
HDR2 and HDR3. There's also an
Auto Align' correction to ensure
the three frames are precisely
matched. More importantly for
some users, HDR capture is
possible when shooting RAW
- either PEF or DNG files - with
the three component images
saved in a single file.

Alternatively, the 645Z
has dynamic range expansion
processing with separate
adjustments for the highlights and
the shadows, both with an Auto
correction option. The 'D-Range'
corrections are performed via
a combination of exposure
adjustments for the highlights and
an adjustment of the tone curve
for the shadows.

There's also a multiple exposure
facility which can capture up
to 2000 shots with the choice
of three composite modes to
determine the overall exposure
-Average, Additive or Bright. An
intervalometer also allows for up
to 2000 images to be captured
over intervals of two seconds up
to 24 hours.

ON DISPLAY

We mentioned the 645Z monitor-
based info displays earlier, but it's
worth adding here that there's a
choice of no fewer than 12 colour
schemes, including - if you so
desire - yellow, orange, purple
or green.

The live view screen can be
configured to include a real-time
histogram, a highlight warning,
one of five grid patterns, the
bar-type electronic level displays
mentioned earlier and an exposure
compensation scale. The 'Custom
Image' picture modes, white
balance settings and drive modes
can all be directly accessed when
the camera is in live view and
obviously the 'Digital Preview'
function is available.

The image review/playback
the screens include a luminance

histogram superimposed over
the image, a thumbnail with a full
set of histograms (i.e. luminance
plus the RGB channels), both
highlight and shadow warnings,
the grid displays and a detailed set
of Exif data. The playback editing
functions include cropping and
resizing, basic movie editing, the
ability to save a white balance
setting, copying images from one
memory card to the other, and a
slide show function which allows
for variable display times and a
selection of three transitional
effects. Also here is a 'Colour
Moire Correction' facility with three
strength settings, and in-camera
RAW file conversion to either a
JPEG oraTIFF

Thumbnails can be displayed
in groups of six, 12, 20, 35 or 80
images, or in a 'Calendar Filmstrip'
display. At the other end of the size
scale, zoom playback allows for
image magnification of up to 16x
and a 'Quick Zoom' function can be
set to go straight to 2x, 4x, 8x or
16x . Copyright information can be
added to the Exif data, namely the
photographer's name and that of
the copyright holder.

The menu design from the
Pentax APS-C' D-SLRs is carried
over to the 645Z, so each chapter
is divided into stand-alone pages
which are individually accessed
via numbered tabs (i.e. continuous
scrolling isn't available). Both the
layout and navigation are fairly
logical with repeated right-clicks
delving into the sub-menus and
settings, and then the 'Menu'
button for going backwards. One
ongoing idiosyncrasy is the policy
of also using the right-click key
for checking some functions as
well as the more logical 'OK'
button... so, if you are in the habit
of subsequently pressing 'OK' to
confirm an action, you'll actually
end up switching that function off.
You'll soon retrain yourself.

PERFORMANCE
AND SPEED

With our reference memory card
- Lexar's Professional 600x 64 GB
SDXC UHS-I speed device - loaded
the Pentax 645Z captured a burst
of 34 JPEG/large/best frames in
11.401 seconds which represents
a continuous shooting speed of
2.98 fps. . . a near as a whisker to
the quoted 3.0 fps. For the record,
the average file size was 30 MB
so that's a fair amount of data

50 Camera

ON TRIAL

PENTAX 645Z

to move around, but the buffer
memory still emptied extremely
quickly. With a UHS-I speed card,
the camera will go on shooting
beyond the quoted burst length,
but the frame rate is reduced.

However, it's the imaging
performance that seals the deal
with the 645Z... this and the
fact that it's as easy to use as
any smaller format D-SLR with
comparable AF and metering
performances.

It may look imposing, but it
handles beautifully and really
doesn't feel all that big in the hand
(although it might with a longer
lens fitted). The image quality is
nothing short of stunning and, in
many ways, it is just like looking
at a 6x4. 5cm transparency after
you've been accustomed to
35mm. The best quality JPEGs
exhibit a level of detailing that's
truly dramatic and everything stays
crisply resolved even with very big
enlargements (just like medium

format film). Of course, it's 51 MP
resolution that's also unfettered by
an anti-aliasing filter so the amount
of crisply-resolved details has to be
seen to be believed.

The dynamic range is also
exceptional and stays impressive
even at the higher ISOs up to
6400. Noise really isn't an issue
up to ISO 3200 and even the ISO
6400 and 12,800 settings are
quite useable, although some
graininess is evident in areas of
uniform tone. Because the 645Z is
so comfortable to use hand-held,
the imaging performance between
ISO 100 and 1000 means you can
do this in a wide range of lighting
situations (which is where the
TAv exposure mode really comes
into its own).

The settings beyond ISO 51,200
really are only there for bragging
rights as they're very noisy indeed.
Nevertheless, the 645Z still
puts in a very superior high ISO
performance indeed. The various

'Custom Image' presets provide
plenty of scope for tweaking colour
and sharpness when shooting
JPEGs. The tonal gradations are
super smooth and the subtlest
of shades is handled as well as
the fully saturated. There really is
no aspect of the 645Z's imaging
performance that isn't worthy of
a superlative and this certainly
goes some way to justifying the
purchase price.

THE VERDICT

In the light of cameras with
ultra-high resolution full-35mm
sensors like Nikon's D810, Canon's
EOS 5Ds models or Sony's A7R
II, it could be considered more
challenging to mount a compelling
argument for digital medium
format, but the Pentax 645Z is
undoubtedly that argument.

Apart from being the most
affordable medium format D-SLR
on the market by a long shot, it's
also the most user-friendly and

the most capable, particularly
if you want the convenience of
shooting JPEGs. It handles as
comfortably as any full-35mm
D-SLR and is equally comparable
in terms of its operational ease
and efficiency. The reliable
autofocusing operation, faster
shooting speed, tiltable monitor
and video capabilities also put
the 645Z in a class of its own,
but towering above all this is its
awe-inspiring imaging quality.
Here the Pentax outperforms
anything with a full-35mm
sensor yet it costs very much
less than any of its digital
medium format rivals with 50 MP
CMOS imagers.

On balance then, the Pentax
645Z simply can't be defined by
its price alone because this pales
into insignificance in the light of
everything this camera offers for
that money. By that test, nothing
else on the market - in any sensor
format - comes close.

VITAL STATISTICS

Type: Fully automatic medium format digital
SLR with Pentax 645AF2 bayonet lens mount.
Focusing: Automatic via 27-point wide-area
system using phase-detection type CCD sen-
sor arrays (including 25 cross-type arrays).
Focus points may be selected manually or
by the camera. Manual or auto switching
between one-shot and continuous modes, the
latter with a predictive function. Spot, Select,
Expanded Area and Zone Select area modes.
Sensitivity range is EV -3.0 to 18 (ISO 100). AF
assist provided by built-in LED illuminator. AF
micro-adjustment for up to 20 lenses. Contrast-
detection AF in live view with manual assist
via magnified image (up to 16x) and focus
peaking display.

Metering: TTL via 86,000 pixels RGB sensor
with multi-pattern evaluative, centre-weighted
average, spot and P-TTL flash measure-
ments. Metering range is EV -1.0 to 21 (ISO
100/55mm f2.8).

Exposure Modes: Program (with manually
adjustable line; Normal, Hi-Speed Priority,

DOF Priority Deep or Shallow, MTF Priority),
shutter-priority auto, aperture-priority auto,
shutter and aperture priority, sensitivity-priority
auto, metered manual, and P-TTL flash. 'Hyper
Program' switching between program and
either aperture-priority or shutter-priority AE
modes. 'Hyper Manual' instantly sets 'correct'
exposure settings, Sensitivity priority program
mode sets optimum aperture and speed for a
given sensitivity setting.

Shutter: Electronic, vertical travel, metal
blades, 30-1/4000 second plus 'B'. Flash sync
to 1/125 second. Exposure compensation up to
+/-5.0 EV in Zi or 1/3 stop increments.
Viewfinder: Keplerian telescopic trapezoid
prism type. Coverage = 98% vertical/
horizontal. Magnification = 0.62x (55mm
lens at infinity). LCD displays and LED active
focus point indicators. Interchangeable
focusing screens (choice of four). Eyepiece

PENTAX 645Z $10,449 —

strength adjustment built-in.

Flash: None built-in. External flash units con-
nect via hotshoe or PC terminal.

Additional Features: Magnesium alloy
bodyshell over diecast aluminium chassis;
bodyshell sealed against dust and moisture,
and insulated to -10 degrees Celsius; auto
exposure bracketing (over two, three or five
frames), depth-of-field preview, AE lock,
external LCD panel (with built-in illumina-
tion), dual-mode self-timer (two or 12 second
delays), three user settings memory, audible
signals, wireless (IR) remote shutter release,
wired remote shutter release, auto power-off
(variable delay), mirror lock-up, 29 custom
functions.

DIGITAL SECTION

Sensor: 52.99 million pixels CMOS with
43.8x32.8 mm area. Sensitivity equivalent to
ISO 100-204,800. No optical low-pass filter.
Focal Length Increase: 1.3x with 6x4. 5cm
format lenses.

Formats/Resolution: Three JPEG compression
settings, RAW output and TIFF. RAW+JPEG
capture. RAW images can be captured as
either compressed PEF or uncompressed DNG
files. Four resolution settings; 8256x6192 pix-
els, 6912x5184, 5376x4032 and 1 920x1 440pix-
els. 24-bit RGB colour for JPEGs, 42-bit RGB
colour for RAW files (captured at 8256x6192
pixels resolution).

Video Recording: Full FID = 1920x1080 pixels
at 50 (interlaced), 25 or 24 (progressive scan)
fps and 16:9 aspect ratio or HD = 1280x720
pixels at 50, 25 or 24 fps (progressive scan).

All movie modes have Best, Better or Good
quality settings. MOV format with MPEG-4
AVC/H.264 compression. Clip length of up to
25 minutes in duration or up to 4.0 GB in file
size. Built-in stereo microphones with stereo
microphone input and auto/manual audio
levels control. Interval video recording mode

at 4K (3840x2160 pixels) in Motion JPEG or
AVI formats.

Recording Media: Dual slots for SD/SDHC/
SDXC cards with UHS-I support. Sequential,
simultaneous or separate RAW and JPEG
recording file management modes. Supports
Eye-Fi and FLU wireless transfer cards.
Continuous Shooting: Up to 30 frames at 3.0
fps with JPEG/large/best capture, up to 10
RAW frames, and up to 12 TIFFs. Low speed
shooting at 1.0 fps for up to 300 JPEG/large/
best frames.

White Balance: Auto/manual with nine
presets, three custom settings, auto with
multi-point measurement, fine-tuning along
the amber-blue and magenta-green axes, and
manual colour temperature setting (2500 to
10,000 degrees Kelvin). 'Colour Temperature
Enhancement' (CTE) mode enhances the pre-
vailing lighting tone and Multi Auto WB
modes takes multiple measurements to
better balance scenes containing a number
of different light sources.

Interfaces: USB 3.0 'SuperSpeed', HDMI out-
put (Micro Type D), 3.5 mm stereo audio input.
Additional Features: Live view (with contrast-
detection AF), 'AA Filter Simulator' (Off, Type
1, Type 2), automatic correction for lens aber-
rations (distortion, lateral chromatic, peripheral
illumination and diffraction), active sensor
cleaning, image stabilisation via sensor shift,
dual-axis electronic level display (in viewfinder
and/or monitor screen), 8.1 cm TFT LCD moni-
tor (1 .037 million dots) adjustable for tilt, sRGB
and Adobe RGB colour space, 1 1 'Custom
Image' presets (Bright, Natural, Portrait,
Landscape, Vibrant, Radiant, Muted, Bleach
Bypass, Reversal Film, Monochrome and Cross
Processing), adjustable 'Custom Image' param-
eters (colour tone, colour saturation gamut
radar and fine, contrast, sharpness - regular
and fine, high/low key and highlight/shadow
contrast adjust), B&W capture with contrast

filters and toning effects, 19 post-capture
special effects (Base Parameter Adjust, Extract
Colour, Toy Camera, Retro, High Contrast,
Shading, Invert Colour, Unicolour Bold, Bold
Monochrome, Tone Expansion, Sketch, Water
Colour, Pastel, Posterisation, Miniature,

Soft, Starburst, Fish-Eye, Slim), HDR capture
mode (three exposures with Auto, HDR1,

HDR2 or HDR3 adjustment; manual exposure
adjustment from +/-1 .0, 2.0 or 3.0; auto
align), dynamic range expansion processing
(highlight and/or shadow correction - On, Off,
Auto), noise reduction for high ISO (Off, Auto,
Custom, Low, Medium, High), noise reduction
for long exposures (Off, On, Auto), multiple
exposure facility (two to 2000; Additive,
Average and Bright auto exposure adjust-
ment), intervalometer (up to 2000 images, two
seconds to 24 hours intervals with time delay),
'Interval Composite' mode, real-time histogram
in live view, grid patterns (choice of five, black
or white), histogram display in review/play-
back (luminance and RGB channels), highlight
alert, in-camera RAW-to- JPEG/TIFF conver-
sion, copyright information, adjustable image
display time, playback zoom (up to 1 6x), slide
show (with variable display times and transi-
tions), image rotate, 6/1 2/20/35/80 thumbnail
displays, calendar filmstrip display, image
editing functions (Colour Moire Correction,
Resize, Cropping, Movie Edit, RAW develop-
ment, Image Copy, Capture a JPEG frame from
movie), PictBridge and DP0F support.

Power: Rechargeable 1860 mAh lithium-ion
battery pack (D-L190 type).

Dimensions (WxHxD): 156x117x123 mm
(body only).

Weight: 1470 grams (body only without battery
pack or memory card).

Price: $10,449 body only.

Distributor: C.R. Kennedy & Company Pty Ltd,
telephone (03) 9823 1555 or visit the website
at www.pentax.com.au

Camera 51

AUSTRALIAN
TEENAGE
PHOTOGRAPHER
OF THE YEAR

ROUND E WINNER

Amelia

Patman

NEW SOUTH WALES

THE WINNER of the fifth
round of the Australian
Teenage Photographer Of
The Year competition is
18-year-old Amelia Patman
from country NSW.

Amelia says she draws
photographic inspirations
from the things she sees
around her.

"I photograph the country
- as well as pet portraits -
as these are places and
things I love, and find my
happy place in. It also
allows me to highlight the
history in the country and
its forgotten beauty, as well
as the beauty of animals."

PROUDLY SUPPORTED BY

Canon

THE HUNT IS ON FOR THE...

AUSTRALIAN TEENAGE PHOTOGRAPHER OF THE YEAR!

We're looking for the most talented teenage
photographer in Australia so, if you're aged
between 13 and 19, and think you've got what
it takes to be published on these pages, then
start putting your portfolio together.

The search for the Australian Teenage
Photographer Of The Year is on and we're up to
our fifth finalist which means there's just one
chance left for you to be in the running. Don't
miss this great opportunity to get your portfolio
of favourite images published on these pages...
and perhaps kick off a career in photography.

At the end of the competition, we'll judge all
six finalist portfolios and crown somebody the
Australian Teenage Photographer Of The Year.
Our good friends at Canon Australia have
given us an EOS 750D D-SLR with an EF-S
18-135mm f3. 5-5.6 IS STM zoom lens, currently
valued at $1449, to present as the grand
prize. Furthermore, the overall winner will be
presented with the inaugural Australian Teenage
Photographer Of The Year trophy.

For all the details about how to enter go
to www.avhub.com.au/teenphotographer.
We look forward to seeing your work!

WIN!

A Canon EOS 750D Super Kit
with EF-S 18-135mm f/3.5-5.6 IS
stm Lens valued at $1449

www.avhub.com.au/teenphotographer

ON TRIAL

EPSON

SURECOLOR SC-PSOO

REPORT BY TREVERN DAWES

PLEASURE

If the A3 format SC-P600 isn't
really big enough for your needs
then step up to Epson's A2+
SureColor printer. Trevern Dawes
tries it out using both cut sheets
and papers rolls.

hen a colleague cooler, contemporary studio

W told me recently or office decor. Most of the

about how much features of the A3+ format
he loved his Epson SC-P600 - such as the intuitive
Stylus Pro 3880 tilt-adjustable 6.85 cm LCD

you'd have to think that he - and control screen and the new
probably many others - was UltraChrome HD pigmented

pretty satisfied with his exist- inkset - have been incorporated

ing A2+ format photo printer. into the bigger printer.

So Epson's challenge is first to The LCD screen is primarily

entice these users to upgrade to used to check the status of
the new SureColor series model, the printer, ink levels and to

and then to compete with what's generally attend to routine

on offer from chief rival Canon. maintenance tasks. In many
The basic shape of the respects it becomes a central

SureColor SC-P800 hasn't control system. Add the option

altered from the Stylus Pro of fitting a paper roll holder and

3880, but this time the previous the move up to the A2+ format,

silver-and-black colour scheme and the SC-P800 is essentially a

has become an elegant all-over step up in size from the highly-
black... fitting nicely in with a capable P600.

54 I CAMERA

ON TRIAL

EPSON SC-P800

Weighing in at 19.5 kilograms,
this printer is just manageable,
but may take two sets of hands
to carry and set up. If a paper roll
holder is involved, the depth of
the desk or bench will need to be
sufficient to accommodate the
extra 76.9 centimetres of depth.
The LCD screen is located top
right, whereas behind are the ink
compartment on the left side and
the replaceable maintenance tank
at bottom right.

There are three paper feed
systems. The top auto sheet
feeder has three telescopic
sections and can accommodate up
to ten sheets of A2 inkjet paper or
40 sheets of plain A4 paper. The
maximum paper thickness that
can be handled is 1.8 millimetres.
Heavyweight, fine-art and poster
board up to 1.5 millimetres thick
are handled one-sheet-at-a-time
via the front-load system while the
optional paper roll adapter attaches
to the rear. The receiving tray at
front opens and automatically
lowers by gently pressing inwards
on the three little spikes at the top
of the panel. This is a classy little
feature and a nice touch.

The front manual feed takes
longer to load. The procedure is
stepped through the LCD screen
and involves lowering the platform,
loading and then closing the
platform ready for printing. If a
step is missed a beep sounds and
a message appears on the LCD
screen (usually you'll forget to

close the manual feed tray). When
a number of manual feed prints
are required, it can become
tiresome going through the steps
to get each print organised. As
slow as this might be, it is precise
and actually ensures a straight
printing pathway.

GET CONNECTED

Printer connectivity is via four
methods. A Hi-Speed USB 2.0
port, an Ethernet port (10/100
Base-T), Wireless-n 2.4 GHz WiFi
Direct or Apple AirPrint, Google
and Cloud Print support.

Today most printers have the
capacity to print from WiFi and
remote devices (iPad, iPhone,
tablets or Smartphone, AirPrint,
etc.) and now the SC-P800 also
has these facilities. Whether these
will be used with such a formidable
printer as an alternative to print
files created by image editing
software and linked to the printer
by cable is a matter of user choice;
but at least it's all there.

The printer is supplied with a
power cord, the nine start-up ink
cartridges, a maintenance tank
(already fitted), a set-up guide
sheet and the software CD
(which contains the user guide,
printer driver, Easy Photo Print,
Epson Net Configuration, Epson
Net Set-up, Epson Net Print,
software and updater, and Adobe
Profile software).

The main operations manual
may be downloaded from the
Internet. Epson's Print Layout
software is available as a free
downloadable plug-in for
Adobe Photoshop and

ATTACHMENT OF
THE PAPER ROLL
HOLDER TO THE
REAR OF THE
PRINTER IS QUICK
AND EASY. THIRTY
SECONDS AT MOST
IS ALL IT TAKES TO
ATTACH OR DETACH
THIS COMPONENT.

Lightroom, and Nikon ViewNX-i.

This facility produces images to suit
a variety of display requirements.

Epson ColorBase 2 may also
be downloaded and allows precise
colour matching via supported
spectrophotometers. It's intended
as a fine-tuning arrangement for
those who need to extract the
utmost performance.

SETTING UP

After removing all the plastic
wrapping, the masses of blue tape
stuck on everything that either
opens or moves, and taking out
the print head locking holders, it's
simply a matter of letting the set

up sheet guide take you through
the procedures.

Switch on, press to select the
English language default, wait
about 30 seconds for the pop-up
ink cover to release, shake each
cartridge gently and install. Place
the CD in the computer and follow
the prompts. Allow about an hour
from first opening the packaging
carton to being ready to print.

The total ink in the start-up
cartridges is 576 millilitres with
138 millimetres used to prime the
ink lines and the print head. That
represents a lot of ink at around $1
per millilitre. The ink levels will be
shown about 80 percent full. This
is a once-only step, but suggests
when a printer is purchased, a full
set of the 80 millilitres standard
cartridges might just as well be
acquired as well, along with a
maintenance tank.

The set-up sheet makes no
actual mention of a head alignment
procedure so we ought to assume
the factory settings are accurate
for the best possible quality. In
print-making, if results start to
look fuzzy or vertical or horizontal
lines in a print are not correctly
aligned then a print head alignment
is the answer.

However, if need be from
day one, a set of adjustments
can be applied by pressing the
spanner icon on the screen, then
'Maintenance' and 'Print Head
Alignment'. Add two sheets of A4
gloss or semi-gloss paper (but not
plain paper) to the auto feeder and
press 'Proceed'. Examine these
print outs carefully and identify the
cleanest image for each of the 12

Camew 55

EPSON SC-P800

ON TRIAL

rows. Record the values and enter
these on the LCD screen. This will
confirm the factory settings are
OK or will allow fine-tuning to
be applied. The printer also has a
photo black default when the set-
up is complete.

PRINTING

The 'Main' print panel controls the
media type, colour mode, print
quality, paper source, paper size
and advanced paper options. 'Page
Layout' and 'Utility' are the sup-
porting panels. In the 'Main' panel,

Epson Standard sRGB or Adobe
RGB, and PhotoEnhance are Ep-
son's colour management options,
whereas ICM locks into Photoshop
(if Photoshop is set to manage
colour, then 'Off - no colour adjust-
ment' must be selected).

'High Speed' set as 'Off' can
make a difference and is based
on individual observations, but
'Edge Smoothing' should be left
'Off' in favour of relying mostly
on 300 dpi print file resolution
while 'Finest Detail' should always
be left 'On'.

Right-clicking on the mouse
over any feature in a print panel will
allow access to a 'Help' facility for
further information.

Paper take-up on the auto
sheet feeder involves some clatter
and the printer will occasionally
pause to 'have a think' and gurgle
whereas the print head action is
relatively quiet.

Turning off the paper skew
'On-Off' option may be helpful
too, more so for the roll and front
paper paths, as this feature can be
too sensitive.

The 'Main' print panel has
its initial default settings. When
different settings are established
for a print they can be saved for
quick recall in subsequent printing
sessions. Ideally every favourite
paper will have its own name
and that will make working with
different papers convenient, instead
of needing to construct a new set
from the default for just one print.

PROFILES

The 11 'canned' Epson profiles
are grouped under 'Media Type'

Adjustments to colour
rendition are extensive
and any new settings can
be saved.

Epson's Easy Photo Print
is an alternative way to
print making.

The settings for Photoshop
with 'Printer Manages
Colour' selected for 'Colour
Handling'.

When an ink cartridge
expires, the printer stops
and brings up a message.

The 'Print Preview' facility
is an important feature on
any printer.

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ON TRIAL

EPSON SC-P800

headings of 'Photo Paper', 'Proof-
ing Paper', 'Matte Papers, 'Fine
Art Papers', 'Plain Paper' and,
finally, 'Canvas'.

Paper manufacturers like
Hahnemuhle, Canson, etc., already
provide ICC profiles for the printer.
Although the profiles incorporated
in the printer and by third party
paper manufacturers will be perfect
for most users, those who like to
extract the utmost will resort to
customised ICC profiles.

Most profiles for matte and fine
art paper recommend 1440x720

dpi printing. Innova 280 matte was
used with a profile for the SC-
P800 downloaded from the Innova
Website. This proved to be spot
on. An A3 print with high speed off
took 6:00 minutes while an A2 took
15:30 minutes.

BLACK AND WHITE

The three ink technology - photo
or matte black, plus light black and
light light black renders black and
white prints free of any colour
casting with details in shadow and
highlight areas retained.

In the printer's 'Advanced
Black And White' mode, the
'Neutral' setting can be altered
to 'Cool', 'Warm' or 'Sepia' with
further adjustments available for
brightness, contrast, shadow
tonality, highlight tonality,
maximum optical density and
highlight point shift. In other words,
a complete control package that
leaves little to be desired.

Gloss differential on gloss
media can be reduced by adding
extra light light black dots in clear
areas. This is achieved in the 'Main'

panel and 'Advanced' by changing
the 'Off' default for 'Highlight
Optical Shift' to 'On'.

A shared line between the
photo black and matte black means
ink losses in the changeovers and
the time involved. According to one
report, the matte-to-photo black
switchover purges 4.6 millilitres of
ink and takes 3:30 minutes. Photo-
to-matte black switching consumes
1.6 millilitres of ink and takes 2:30
minutes. Nothing has changed
here from the Stylus Pro 3880
and the Pro 3800 despite adverse

Print quality options default
to the paper selected or can
be set as required.

Ink levels are monitored on
the LCD screen, but more
details are available on the
computer screen.

The 'Main' print panel
is used to control the
printer's settings.

The SC-P800 provides a
range of adjustments for
black and white printing.

The ICM panel locks in
'Input Profile'/ Intent'
and 'Printer Profile'.

ON TRIAL

EPSON SC-P800

The new UltraChrome HD inkset

comprises photo black, matte black,
light black, light light black, vivid
magenta, vivid light magenta, cyan,
light cyan and yellow. The photo black
for gloss, semi-gloss and lustre media
and the matte black for matte or fine-
art media share the same line into the

print head and interchange according
to the paper type. Coding for the ink
set runs fromT8502 toT8509. Start-up
ink cartridges of 64 millimetres capac-
ity each are supplied and thereafter
the standard 80 millimetres cartridges
are fitted.

Epson promotes the UltraChrome
HD inks as having enhanced colour
gamut, deeper blacks (a Dmax of 2.86
claimed on Epson Lustre PGPP paper)
and reduced bronzing on gloss media,
along with greater print longevity over
the UltraChrome K3 set. At this time
Epson hints at twice the ratings of
previous generations of UltraChrome
inks - general album and dark storage
over 200 years and black and white

images exceeding 400 years. The

increased longevity ratings are most

significant, but as yet have not been
confirmed by Wilhelm Research (see
Wilhelm Research Website for details).

For those who like to delve deep
into the finer points of ink technology,
the data available on www.luminous-
landscape.com should be studied.
Here comparisons between the
Stylus Pro 3880, Stylus Pro 4900
and the SC-P800 are made in terms
of tonal smoothness, colour gamut,
black depth, shadow detail rendition,
resolution, etc.

Of course, so much does relate
to the characteristics of print files in
terms of tonal scale relationships,
contrasts, lifting out of shadow detail,
selective colour adjustment, unsharp
masking, and so on.

Once into the second set of inks,
the running costs are about $1.00/

comment. It's still a nuisance and a
costly process, sufficient to enforce
very careful planning when a
variety of print media is being used.
Just consider that 4.6 millilitres of
ink costs about $4.60 which is the
cost of two A2 size prints.

Switching from photo to
matte black - and vice versa - is
automatic by default and is linked
to the media selection. To avoid
accidental selection of the wrong
paper, the automation can be
changed to a manual process on
the LCD panel.

INK OUT

When a cartridge has about 15
percent of ink capacity remaining

millilitre (with the 80 millimetres
capacity cartridges currently priced
at $79 each) with slight reductions for
discounted prices.

The printer provides a printed
report on prints created, but the
amount of ink consumed for the
last ten prints is a feature from the
Stylus Pro 3880 that is unfortunately
no longer available. For the record,
an A3 size print consumed about 1.5
millilitres of ink on the Stylus Pro 3880.

THE SURECOLOR SC-P800 IS
ESSENTIALLY A FINE-ART PRINTER
AND EXCELLENT WITH MATTE.
FINE-ART AND LUSTRE PAPERS.
ESPECIALLY THE HOT AND COLD
PRESS MEDIA.

a warning message will appear -
"It is almost time to replace ink
cartridge(s)'.'The word "almost"
may be regarded as a generous
warning as there are still many
prints to make before the printer
beeps and comes up with the
message "Replace the following
ink(s)'.' Simply press 'Proceed' on
the LCD panel to open the cham-
ber and make the changeover.
During our test, the first ink change
occurred towards the end of an A3
print. Printing resumed and the im-
age completed. At no stage during
the printer review was a print 'lost'
due to a cartridge change.

The status of the maintenance
tank is shown on the touch screen
on the right end of the ink levels.
When it's time for replacement the
printer will notify you.

Attachment of the paper roll
holder to the rear of the printer is
quick and easy. Simply align the
roller to the two orange markers,
clip in and then tighten up the two
screws at the base. Thirty seconds
at most is all it takes to attach or
detach this holder.

In order to print with the roll,
change the 'Source' paper settings
to 'Roll Paper'. If this setting is
overlooked, the print will soon let

58 CAME%\

LEICA S

Why settle for less?

NEW

A camera is only as good as the system that supports it. The Leica 5-System combines the superior imaging
qualities of medium format with the world's best lenses and the convenient handling, mobility, and high speed
of a 35 mm single-lens reflex. Now the Leica S (Type 007) enters an entirely new dimension;

_ Faster sequential shooting with 3,5 frames per second for even more spontaneity
. Superior imaging quality up to ISO- \2 500 for greater creative freedom in low light
_ Extremely fast and precise autofocus to ensure it's sharp where you need it
_ Movie mode in full-HD or 4K resolution for professional cinema quality in medium-format look

LEICA. DAS WESENTLICHE.

Experience the ftfcur lefca 5 tor youraeii to Leica Boutiques and at selected authorised Leica dealers,

ON TRIAL

EPSON SC-P800

ON PAPER PERFORMANCES

Epson's Premium Lustre
(250 gsm) Q paper proved to
be the pick of the media linked
to the Photo Black ink.The
surface has a nice 'lift' without
the sheen of a glossy paper
while gloss differential and
bronzing are barely noticeable.
Several A2 prints averaged out
at 19:30 minutes at the Level 5
quality setting (and high speed
switched 'Off'). No prizes here
for speed, but the results were
very impressive and only
re-enforce the popularity of
this paper generally associ-
ated with the Epson Stylus
Pro 3880.

Alas, there were only a
few A4 Epson Hot and Cold
press sheets ©from Epson's
Signature Worthy sample pack
to play with. Profiles were
downloaded from the Epson
Website and UltraSmooth
Fine Art Paper selected as
the media type with Level
4 quality and high speed
switched 'Off'. These papers
truly bring out the very best in
the printer.They are not cheap

by any means, but they are
simply magnificent, especially
the Hot Press Bright.

Epson Fine Art Velvet
paper © (260 gsm) in A3+
format provided noticeably
more 'depth' to what was
achieved on standard matte
papers. This finely-stippled
paper is yet another up-
market Epson media to bring
out the best in the printer. It
would also be well-suited to
the making of larger portfolio
books, albeit with right-hand
page images only as the
reverse side is similar
in surface base 'colour'
and texture.

Because pigments actually
do not penetrate the surface
of media as per dyes, it
enforces a policy of all due
care, not just in ensuring the
paper inserted is free of dust
particles that will invariably
leave white spots, but also
in careful handling at all times
thereafter. Protective sprays
are recommended to seal
the surface.

you know. The LCD screen will
direct the actions required to load
the paper roll. Open the receiving
tray and the rear tray. After the
message "Feed paper into the
slot as far as it will go and hold for
three seconds" is addressed, the
paper will load automatically to the
ready position.

The printer will allocate five
centimetres of space prior to
printing and 1.5 centimetres at
the end. When printing stops
a message appears "Printing
complete - cut off the printed
page" with the options of 'No Cut'
or 'Cut'. If 'No Cut' is selected, the
printer adds more images. If 'Cut'
is selected, a cutting line is printed.
As a built-in auto paper cutter is not
included, it is necessary to carefully
cut along the line with scissors, or
cut with a blade, and then press
'Finish'. The printer will adjust the
paper position for the next print.

In many cases custom paper sizes
will be required to ensure adequate
lead-in and lead-out space to assist
with any framing to follow later. To
disengage the roll press 'Cut/Eject'
and then 'Eject'. Back roll the paper
to tighten it up.

The first long print made as
a test was an image 367x725
millimetres in area organised on
a custom paper size of 405x900
millimetres at Level 5 quality and
with high speed switched 'Off'. This
took 25:30 minutes. The largest
print produced on the roll was a
336x958 millimetres image made
on a 405x1100 millimetres custom-
set paper size. For this Level 4
quality and high speed switch 'On'
was used for a far more agreeable
18:15 minutes print time.

Making a panorama print to
the full 15 metres long capacity
would require some planning with
print file sizes and resolution. If the

The roll paper holder attaches
to the rear of the printer and the
procedure takes no more than
30 seconds.

maximum Level 5 quality setting
was used (and high speed switched
'Off'), it could well be case of letting
the printer run overnight! Obviously
it's helpful to run a few small test
prints first before committing to the
final print in order to avoid wasting
paper and ink.

For those longer panoramas
it is also wise to create some
receiver support as the printer
uses a friction drive method, has
no vacuum seal system and no
separate driver for the roll. Although
paper rolls on two-inch cores
(rather than the standard three-inch)
can be accommodated by removing
the outer section of the holder,
expect curling problems on the
tighter rolls.

The paper holder with paper
detached may be left in place for
printing to proceed with the auto
sheet or front feed manual feeder.

The roll holder is ideal for
panorama print-making or just
stringing together a run of smaller
prints. However, long prints of
manageable length are still possible
without the roll holder. The auto
sheet feeder has no lead-in paper
support and this will make it very
awkward to ensure a long sheet is
taken in squarely while the front
feed prefers only fine-art papers
and can be equally awkward to
load. The solution lies in working
with the roll paper intake.

Follow the instructions to load
from the paper roll, even though
it's not in place and a single sheet
is being used instead. The printer
will take-up the leading edge for
several centimetres to ensure an
accurate alignment prior to printing.
Just remember to allow plenty of
space at the end of the image to
avoid a 'Roll Paper Out' warning
situation that will result in the
printer stopping.

Borderless printing is a key
feature and is set to factory-
prepared sizes up to A2. When
a custom paper size is required,
the dimensions for the width and

height are established in the 'Paper
Settings' and 'User Defined' in the
printer's 'Main' panel. Whatever
is established is saved to a
convenient name, say "343x450'.'
This must be locked in and appear
on the 'Main' page. Just setting the
dimensions without saving may
cause inaccurate image positioning.

PROJECT

After an annual outback trip, having
the SC-P800 on test provided the
opportunity to experiment broadly
with new landscapes, using vari-
ous print sizes, Epson papers and
also third-party papers.

All the 'canned' ICC profiles
created perfect results with the
Epson papers. Innova - along with
most of the other brands - already
has its SC-P800 profiles available
for down loading. Schoeller has yet
to do so, but instead of organising
a custom profile Red River's profile
for its 230 gsm Polar Matte and
the Epson Archival Matte profile
at Level 4 quality were adopted
for Felix Schoeller 230 gsm matte.
This proved to be a convenient
and accurate arrangement. Moving
up to the Level 5 quality setting
added extra print time and a touch
more saturation.

60 Camera

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EPSON SC-P800

ATTACHMENT OF
THE PAPER ROLL
HOLDER TO THE
REAR OF THE
PRINTER IS QUICK
AND EASY. THIRTY
SECONDS AT MOST
IS ALL IT TAKES TO
ATTACH OR DETACH.

A dye-based printer is usually
preferred by photo book companies
because of text clarity and the
capacity to print on any media
without surface problems such

jams or false pickups and no need
to change the paper skew setting
from its 'On' default.

The book results using the
highest print resolution were most
pleasing with excellent colour and
crisp text, right down to captions
in 8-point Garamond. Perhaps not
quite as bright as dye printing, but
this is offset by the longevity
differences with pigments. All
things considered the result
was certainly sufficient to
confidently promote the SC-
P800 as being well suited for
books using matte papers.

The relationship between
printing with dyes or pigments
becomes a fascinating
choice - dyes with
marginally
brighter
colours,
no surface
problems on

any media, but expensive
cartridges on A3+ printers
versus pigment longevity (except
for Epson Claria dyes) and much

as bronzing, gloss differential and
flecking, but here was a chance to
see what the pigment printer could
achieve for a book of the outback
journey. Stacked dual-sided 170
gsm Felix Schoeller matte paper
at 329x274 millimetres (cut from
A3+ sheets to leave a useful A4
remainder) flowed smoothly from
Indesign files. There were no paper

QUALITY AND SPEED

LEVEL LEVEL

SUPERPHOTO SUPERPHOTO

1440x2880 dpi 1440x2880 dpi

10:20 4:00

cheaper printing via the 80 mm
cartridges of the SC-P800.

THE VERDICT

Owners of the Stylus Pro 3880
probably won't be abandoning their
trusty and much-loved machines
just for the sake of keeping up
with the latest printer model.
However, if and when that 3880

LEVEL LEVEL

a a

SUPERFINE SUPERFINE

1440x720 dpi 1440x720 dpi

0 %

( 2 ) 0

4:45 3:00

finally gives up, any leftover inks
cannot be carried over to the SC-
800. Nevertheless the replacement
printer won't disappoint and with
improved ink technology, remote
connections and a roll holder as an
option, the scope is extended.

The SureColor SC-P800 is
essentially a fine-art printer and
excellent with matte, fine-art and
lustre papers (especially the Hot
and Cold Press), but the bronzing
and gloss differential so common
with using pigments on gloss
papers needs to be addressed via
a gloss optimiser cartridge (unlikely
because of printer size) or changes
in ink technology. The loss of ink in
the changeover of the black inks
is an on-going nuisance that also
really needs attention.

Although the printer can handle
postcards and be linked up with
remote devices (albeit with slower
printing), its prime role is exhibition
print-making in colour or black and
white up to A2+ (or longer prints) at
comparatively moderate ink cost. In
this role it is unsurpassed.

Despite a few minor misgivings,
the SC-P800 is a pleasure to work
with. The Epson reputation for
quality and performance hasn't
changed and the much revered
Stylus Pro 3880 has a worthy
successor in an on-going printer
success story. r m

VITAL STATISTICS

EPSON
SURECOLOR
SC-P800 $2195

Printer Type: A2+ format (17 inches wide)
for photo-quality prints via a nine-colour
pigmented inkset (but eight cartridges in
use at any one time with auto switching
between matte black and photo black).
Maximum Resolution: 2880x1440 dpi.

Ink Cartridges: Individual per colour, 80
millilitres capacity. Epson UltraChrome HD
pigments. Colours are photo black,
matte black, cyan, light cyan, vivid
magenta, vivid light magenta, yellow,
light black and light black. Smallest
droplet size is 3.5 picolitres via 'Variable
Droplet Technology'.

Paper Sizes: Borderless printing on cut
sheets from 90x130 mm up to A2. Paper
rolls up to 431.8 mm in width can be fit-
ted. Customisable print sizes.

Interfaces: Hi-Speed USB 2.0, 100 Base-T
Ethernet, WiFi. Epson iPrint Mobile App.,
Apple Airprint and Google Cloud Print.
Acoustic Noise: 49.6 dB (A).

Main Features: 6.85 cm LCD display
panel with touch controls, Micro Piezo
on-demand print head with 180 nozzles
per colour, variable droplet sizing, five
print quality/speed settings, Advanced
B&W mode, auto matte/photo black ink
switching (according to media type), head
alignment and maintenance sensors.
Dimensions (WxHxD): 684x376x250 mm
(closed).

Weight: 19.5 kilograms (without ink
cartridges or media).

Price: $2195 (inc. GST). Ink cartridges are
$79 each. Roll paper holder sells for $249.
Maintenance tank is $22.

Distributor: Epson Australia, telephone
1 300 1 31 928 or visit www.epson.com.au

It's up to the individual to sort out the settings for each paper

type. Running a magnifier over the prints may be helpful, but in the
end it's what is perceived at a normal viewing distance. The general
advice is to go to the Level 5 quality setting with gloss media and
settle for Level 4 for matte. However, when it's a critical print, I'd
always opt for Level 5 quality with the high speed option switched
off. . . and not worry about longer print times.

THETIME RESULTS FOR AN A3 PRINT ON THE SC-P800

62 Camera

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ON TRIAL

VIEWSONIC

VP2780-4K 27-INCH MONITOR

REPORT BY PAUL BURROWS

SHOW TIME

With an increasing number of cameras
offering 4K video capabilities, it's probably
time to think about moving your display up to
this resolution too. ViewSonic's new 27-inch
LED-backlit panel offers an affordable solution.

ViewSonic's new 27-inch Ultra HD
display leverages the performance
benefits of an IPS panel including
colour, contrast and a wide
viewing angle.

here are plenty
of experiences in
imaging which make
it hard to go back
and one of them is
undoubtedly seeing a 4K resolution
display for the first time. After this,
2K simply doesn't cut the mustard.
Moving up to 4K is becoming
more and more inevitable as the
number of 4K video recording
devices steadily increases as does,
of course, ultra-high resolution still
capture in the range of 30 to 50
megapixels.

With its new 27-inch 4K
resolution (Ultra HD to be
specific) LED backlit monitor,

64 CAMEQ A

ON TRIAL

VIEWSONIC VP2780

ViewSonic throws comparative
affordability into the mix and while
the VP2780-4K still isn't exactly
cheap, it delivers a lot of imaging
performance for the money. It's
a smart-looking device with a
matte-black finish, and is supplied
with a stylish, three-legged stand
which requires only the feet to
be fitted out-of-the-box.This is
done via a sturdy bayonet mount
which, once locked in place, is
secured via a screw so there's no
chance of anything coming apart.
Subsequently, the stand allows for
a height adjustment of up to 15
centimetres, a 60-degrees swivel
either left or right, and 28 degree
of tilt - five forward and 23 back.
Additionally, the whole screen can
be pivoted through 90 degrees for
the vertical or portrait format.

The panel is an In-Plane
Switching (IPS) type display
with a maximum definition of
3840x2160 pixels (i.e. UHD), and
which is calibrated before it leaves
ViewSonic's manufacturing plant
and that report is included in the
supplied documentation. Delta E
CIE colour calibration charts are
provided for the sRGB, Native and
EBU colour gamuts, along with
Gamma 2.2 curve (brightness)
and Grayscale Tracking (colour
temperature stability) graphs.
Subsequent adjustments are

JUST BEING ABLE TO
BUY A 4K DISPLAY
IN THIS SMALLEB
SCREEN SIZE IS
A GOOD START.
ESPECIALLY FOR
ANYBODY WHO
DOESN'T HAVE A
HUGE AMOUNT OF
DESK SPACE AT
THEIR DISPOSAL.

There's a total of five USB 3.0
connections, two located on the
side of the monitor for the easier
connecting of portable devices.

Supplied stand allows for
height adjustments as
well as tilt, swivel and a
90-degree rotation.

The connection options
are extensive and include
HDMI 2.0, USB 3.0 and
DisplayPort 1.2a.

made to ensure the monitor can
achieve the Delta E <2 standard
of colour accuracy (i.e. a very low
error count).

While, on paper, this may not
actually mean all that much to
the average user, the proof is in
the pudding because our testing
showed the factory set-up to
be pretty close to the ideal with
both accurate colour reproduction
across the spectrum, and an
impressively wide dynamic range
- as evidenced by good tonality
being retained in both the brightest
highlights and darkest shadows.
The AH-IPS panel technology
also delivers an enhanced off-axis
image quality so the viewing angle
for this monitor is a very handy
178 degrees, both horizontally
and vertically.

Using 10-bit RGB colour
processing, the VP2780-4K can
display up to 1.07 billion colours
(from a palette of 4.39 trillion) to
give 100 percent coverage of the
sRGB colour space.

GOOD CONNECTIONS

The screen's surrounding bezel
is quite thin, helping maintain
comparatively compact overall
dimensions, and on the right-end
of the bottom edge is a line-up of
five touch-sensitive keys. In fact,
you only know that they're there
because of their markings so
they contribute to the monitor's
very clean look externally, but
in practice proved to be a bit
temperamental, mostly needing
several quite determined pushes
before anything happened. These

controls comprise the power
on/off button, up/down keys for
selecting various settings, and
selectors for the main menu and
the control screen.

At the rear ViewSonic
provides a generous selection of
connectivity options. The majority
of the connections are arrayed
along the base of the stand's
mounting binnacle so the cables
fall naturally away, while a pair of
USB 3.0 ports are located on the
side to allow the easy connection
of portable devices such as jump
drives. The main connection bay
comprises one HDMI 2.0 port (for
supporting 4K video at 60 Hz), two
HDMI 1.4 ports (with charging),
two 1.2a DisplayPorts (full size and
mini), a further three USB 3.0 ports
and a 3.5 mm headphone jack. This

Camera 65

VIEWSONIC VP2780

ON TRIAL

The main controls take form
of a discreet touch pad on the
monitor's front bezel.

VIEWSONIC
VP2780 $1200

4K 27-INCH MONITOR

Panel Type: 68.58 cm (27 inches)
'SuperClear' AH-IPS TFT LCD with
LED backlighting.

Display Area: 596.74x335.66 millimetres
(full scan). 16:9 aspect ratio.

Native Resolution: 3840x2160 pixels.

Pixel Density: 163 ppi.

Viewing Angles: 178 degrees horizontal
and vertical

Brightness: 350 cd/m 2 (typical).

Contrast: 1000:1 (typical).

Display Colours: 1.07 billion from a pal-
ette of 4.39 trillion.

Colour Range: 100 percent of sRGB.
Internal Processing: 10-bits per colour
Height Adjustment Range: 1 5.0 centi-
metres.

Mount Adjustments: -5-23 degrees tilt, 60
degrees left/right swivel and 90 degrees
pivot (for portrait format).

Connections: HDMI 2.0, HDM1 1.4 (2).
Display Port 1.2a, Mini Display Port, USB
3.0 (5 in total), 3.5 mm headphone output.
Features: 14-bit LUT and 3D LUT, seven
picture presets (sRGB, Bluish, Cool,

Native, Warm, User and EBU), indepen-
dent 6-axis colour adjustment (Red, Green,
Blue, Cyan, Magenta and Yellow), five
'ViewMode' settings (Game, Movie, Web,
Text and Mono), PIP and PBP functions
(for up to four inputs), adjustable 'Blue
Light Filter'.

Dimensions (WxHxD): 642.9x469.7x347.9
mm (including stand).

Weight: 8.4 kilograms (including stand).
Price: $1200 (estimated average street
price). Four-year warranty.

Distributor: ViewSonic Australia, visit
www.viewsonic.com.au

MULTI TALENTED

Also useful is the provision of
Multi-Picture modes for both
picture-in-picture (PIP) or picture-
by-picture (PBP) displays for up
to four input sources, each at
1080p Full FID. There's a choice
of seven colour presets including
sRGB, Cool, Warm, Native and
EBU (the European Broadcasting
Union's colour standard for FID
video production). There's also a
selection of five gamma settings
(1.8, 2.0, 2.2, 2.4 and 2.6) for
optimising the contrast ratio
and colour saturation to the
application (i.e. video, stills,
graphic design, etc). For manual
adjustment there's a six-axis
independent control which allows
for the hue and saturation of each
colour axis (i.e. R, G, B and C,

M, Y) to be adjusted individually
without affecting the other colour
outputs. Some pro-level monitors

allow for more, but this is arguably
as much manual control as any
working photographer is going to
want - or need - and probably also
sufficient for many videographers
working in the sRGB colour space.
In fact, it's in the sRGB picture
mode that the ViewSonic monitor
performs at its best with better
than E Delta 2 errors and excellent
colour accuracy and saturation
across the full gamut. And it's the
use of a white LED for backlighting
which precludes the wider Adobe
RGB colour space but contributes
significantly to the affordability.

THE VERDICT

Just being able to buy a 4K
display in this smaller screen
size is a good start, especially
for anybody who doesn't have a
huge amount of desk space at
their disposal. Then there's the
clear performance benefits derived
from the individually-performed
factory calibration which is spot-
on - particularly for the sRGB and
Native picture presets - resulting in

exceptional colour accuracy and a
pretty well perfect greyscale right
from the start. The downside is a
very limited scope for any manual
calibration - rendering the User
mode largely irrelevant - but this
won't be an issue for anybody
who just wants to get to work
straightaway with a reliable display.
Also praiseworthy are the excellent
contrast, response speed and
wide-angle viewing.

The VP2780-4K is very well built
and straightforward to use save for
the occasionally 'sticky' touchpad,
with some truly useful features for
image-makers such as the PIP/PBP
modes and big selection of inputs.
In addition, ViewSonic Australia
has extended the warranty from
three to four years. It all adds up
to a very attractive combination
of performance and price which
makes the move up to a pro-level
Ultra HD display much easier on
quite a number of levels. ^

pretty much covers all the likely
requirements of photographers
and video-makers who are likely to
have the need for more flexibility
here than, say, a graphic designer.

66 Camera

$2999.95

*Body Only. Lens not included.

Nikon D500 Pro DSLR

Introducing Nikon's top of the line DX-Format DSLR, the D500.
Boasting a host of features one would expect from the FX-format
top-end models but in a much more compact size, the D500 is a
perfect travel camera. At the heart of the D500 is a 20.9MP CMOS
sensor which paired with an incredible ISO range, results in incredible

Nikon

MEGA

PIXEL

10 dD

FRAMES TILT BUILT IN

PER SEC SCREEN WIFI

153 @

POINT 4K

AF VIDEO

image quality in all lighting conditions. Not to be overlooked as just
a stills camera, the D500 can record 4K video at 30fps. Sharing the
impressive results that you and the camera have created, or controlling
the camera remotely is made possible with built in Wi-Fi & NFC.

ACT

Canberra Centre 125 Bunda St
Canberra Civic 9 Petrie Plaza

Adelaide City 212 Rundle St
Marion Shopping Centre

NSW

Ph: 6249 7364 Sydney City 31 7 Pitt St
Ph: 6247 8711

QLD

Brisbane City 150 Adelaide St
Ph: 8223 3449 Southport 36 Nerang St
Ph: 81 79 4800 Maroochydore 50 Plaza Parade
Garden City Westfield

Ph: 9264 1687

Ph: 3221 9911
Ph: 5591 8203
Ph: 5479 2844
Ph: 3849 2333

VIC

Melbourne City 235 Elizabeth St
Camberwell 843 Burke Rd
Chadstone Shopping Centre
Doncaster Shopping Centre
Fountain Gate Shopping Centre
Frankston 54-58 Wells St
Greensborough Shopping Centre

Ph: 9602 3733
Ph: 9861 9100
Ph: 9568 7800
Ph: 9848 3832
Ph: 9705 4000
Ph: 9783 8160
Ph: 9434 3460

Highpoint Shopping Centre Ph: 931 7 4477

Knox City Shopping Centre Ph: 9800 1 677

Southland Shopping Centre Ph: 9583 5433

teds.com.au

integrcflfed

shopping

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service. Any Liability of Ted's in respect of any part of this publication is negated to the extent permitted by law. And if liable Ted's obligation is limited to
resupply of the goods or services, or repair, or payment for customers doing so, as Ted's chooses.

Helping you capture life

CLASSICS

I T'S IRONICTHATTHE

medium format camera
sector has been the
hardest hit by the transition
from film to digital capture.
Ironic because this is
where it all started back
in the early 1990s... with
high-end digital capture
backs - they were actually
mini scanners to start with - fitted
to rollfilm reflex camera bodies.
However, as history has since
proved, both the rise and rise of
the smaller format cameras - first
D-SLRs and now the mirrorless
designs - plus the need to upgrade
the medium format cameras to
improve integration proved much
too expensive for many brands.

The casualty list has included
Bronica, Contax, Fujifilm (now, of
course, doing extremely well with
its mirrorless cameras), Rolleif lex
(after many valiant struggles to
survive) and the vast majority of
the Mamiya range. Mamiya is
now wholly owned by Phase One,
the 'newcomer' that has arguably
been the most successful in the
digital medium format world. But
even before digital capture came
along, medium format had been
under pressure from the continued
improvement in the performance
of 35mm cameras, lenses and
film; so there had already been a
thinning of the ranks following the
disappearance of brands such as
Kowa (although still going today
in other areas), Plaubel, Yashica,
Pentacon and Koni-Omega.

There's good news here
though, because rollfilm (i.e. using
120/220 type film) cameras have
mostly now become extremely
affordable, aside from a handful
of models that are considered
highly collectable such as the
older RolleiflexTLRs. The most
expensive part of buying a medium
format camera system has always
been the lenses, but given that
these too, have needed to be
upgraded to perform with large-
area digital sensors, film-era optics
won't necessarily break the bank
either. That said, speciality lenses
such as ultra-wides, macros and
tilt-shift or perspective control
models can still be pretty pricey,
although this is now mainly
because of their rarity factor.

Finding Film

The big question mark over
buying 'analog' medium format
cameras is, of course, the
availability of film and, perhaps

68 CAME % 4

ROLL YOUR OWN

MEDIUM FORMAT CAMERAS YOU CAN AFFORD

If digital medium format is beyond your budget,
you can still think big because useable rollfilm
cameras are now easily within reach.

Paul Burrows looks at some of the options.

even more importantly, film
processing services.

While the double-length 220
film is becoming very hard to
find, standard 120 film remains
in reasonably plentiful supply,
especially in B&W. And the key
advantage of shooting B&W film
is, of course, that you can process
it yourself (all you need is a
developing tank and the right size
spirals) pretty easily.

If you're prepared to go to
the lengths of having your own
darkroom, you can make your
own prints too, but scanning the
negatives and then printing digitally
may be the preferred way to go.
Ilford, Foma (excellent products
made in the Czech Republic),
Fujifilm, Kodak and Rollei B&W 120
rollfilm is still available, but you'll
probably have to buy online from
speciality suppliers such as
lofi film photography (visit
www.lofico.com.au which is also
a useful resource for all things
film-based).

The choice of colour 120 rollfilm
stocks is diminishing significantly,
but some Fujichrome E6-process
(i.e. transparency) types remain
available, notably Provia 100F
and either Velvia 50 or 100; and
a number of Kodak C41 process
emulsions (i.e. colour negative)
such as the Portra range. The
advice here is simple - if you're
serious about shooting colour
120 rollfilm, buy up big now and
store it in the freezer until you
need it (then allow 24 hours for a
thorough defrost).

A number of speciality film
processors remain, but they're
now mostly restricted for the major
metropolitan centres so you'll
have to live with longer turnaround
times, especially if you reside in
a rural area, but the bottom line
here is that these services are
still available locally and the more

people who use them, the more
likely they are to stay in business.

Try Before You Buy... Or At
Least Inspect

It's been a while since the
vast majority of professional
photographers shot with medium
format film so the initial flood of
used equipment has diminished
and some of the cameras on sale
now may well be passing through
the hands of second or third
owners. It also means that the
tattiest of gear has probably been
filtered out and you'll be looking at
equipment that's been relatively
well looked-after in the care of
enthusiastic amateurs.

Nevertheless, it's still advisable
to conduct a thorough physical
inspection because although
an item can look good in online
illustrations, all may not be as it
seems. And, it has to be said,
repairs and the availability of spare
parts - or, rather, the lack of - are
where the dream of using medium
format film cameras can really
become a nightmare. A well-worn
exterior isn't necessarily cause
for concern because pro-level
cameras are, in general, built to
last, but it could also signal a well-
worn interior which, put simply,
spells trouble with a capital 'T'.

Of course, the previous, non-
professional owner may have had
to deal with all the problems, but
it will pay in the long-term to shop
around for cameras and lenses in
the best possible condition.

Given the repair situation, the
all-mechanical designs are arguably
a better bet than the cameras that
use some electronics. Automation
was slow to come to medium
format cameras in the film era
so mechanical models (or those
using very minimal electronics)
remained available throughout.
Consequently, this isn't an

indicator of vintage. Hasselblad's
famous 500-series 6x6cm
SLRs, for example, remained in
production until early 2013 so an
all-mechanical 503CW may still be
only a few years old.

Twin Peaks

Cameras using 120/220 rollfilm
date back many decades, but for
the sake of this article we're only
really considering the models that
can be realistically used today, in
terms of both their reliability and
their operational ease.

The twin lens reflex - orTLR -
dominated through the 1950s and
early 1960s - as exemplified by
the Rolleiflex in its many guises.

A simple and rugged design, the
TLR uses a pair of matched lenses,
one for reflex viewfinding and
the other for taking the picture.
With the arrival of box-form SLRs,
as pioneered by Hasselblad, the
TLR fell out of favour among
professionals, but their simplicity
made them comparatively cheap
to manufacture and so they
remain as an affordable entry
point to medium format
photography through models
such as the Yashicamats and the
Russian-built Lubitels.

The majority of TLRs have fixed
lenses, but Mamiya developed an
interchangeable lens arrangement
and the last-of-the-line C330
Professional S remained in
production until 1994. Aside from
built-in metering in some models,
TLRs are fully mechanical and,
given the fixed reflex mirror for
viewfinding plus in-lens leaf-type
shutters, they're also extremely
durable so even quite old cameras
should still be pretty reliable.

TLRs are undoubtedly an
acquired taste, but you get a lot
of camera for your money and a
unique handling experience.

As noted earlier, the Rolleiflexes
have the cache of their significant

Camera 69

CLASSICS

place in the history of photography
so collectors outnumber users and
influence prices accordingly. The
later Rolleiflexes - believe it
or not, production only ceased
in late 2014 when the final
owner of the brand name, DHW
Fototechnik, went bankrupt -
were essentially hand-built in
small numbers and so are also
comparatively expensive, being
essentially limited editions. The
Mamiyas are arguably the best
value inTLRs, but the fixed-lens
Yashicamats are both charming and
cheap, assuming you can find one.

Swedish Beauties

One name dominates medium
format film SLRs and that's
Hasselblad, but the Swedish
company's famous modular
design - which allowed for
the interchanging of lenses,
viewfinders and film holders -
was subsequently emulated
by the Japanese, notably Bronica
and Mamiya.

Hasselblad built its SLR system
on the 6x6cm square image
format, eventually adopting the
reliability of leaf-type shutters with
its famous 500C series models
(the 'C' stands for 'Compur' which
supplied the in-lens shutters). The
original 500C was launched in 1957
and the same basic configuration
- with fully mechanical operation -
was retained for the next 56 years.
There were many small advances
along the way, making the later
models more desirable for today's
user, although the 500C/M which
was introduced in 1970 is quite
easy to work with and, in fact,
stayed in production until 1994
(including a brief period when
it was called the 500 Classic).

The subsequent models - 501 C,

501 CM, 503CX, 503CXi and
503CW - all retain the traditional
Hasselblad 6x6cm SLR attributes
and represent a classic medium
format photography experience.

In 1965 Hasselblad introduced

a motorised version of the 500
called the 500 EL and, once again,
the later versions are the more
desirable, even though the various
updates or revisions were usually
minor. Look for the 500 EL/M
(1970-84) and beyond. In 1977
Hasselblad returned to using a
focal plane shutter with its
2000 series of 6x6cm SLRs and,
later, the 200 series, but these
have never been as popular as
the 500s. Check shutter accuracy
and reliability if considering an
early 2000 model such as the
FC or FC/M.

Perhaps the quirkiest of the
classic Hasselblads are the
Superwide (SW) models which
eliminated the mirror box and
have a fixed Zeiss Biogon 38mm
f4.5 ultra-wide lens with a non-
coupled optical viewfinder.

The SW- later called SWC -
accept the standard Hasselblad
120/220 rollfilm magazines, but
are significantly more compact
than the SLRs and the optical
performance of the 38mm Biogon
(equivalent to a 21mm in 35mm
terms) is legendary. The 903 SWC
(1988-2001) and 905 SWC (2001-
06) remain very highly sought-
after - especially by landscape
photographers - and have
consequently retained their values.

I Want My Mamiya!

When Mamiya adopted the
modular medium format SLR
design, it steered clear of the
6x6cm square format and instead
introduced, first in 1970, the
6x7cm format RB67 Professional
and, subsequently in 1975, the
6x4. 5cm M645.

The RB67 is a beast of a
camera, but like the 'Blads, it's an
all-mechanical design and is fully
modular with, cleverly, film holders
which rotate to switch between
the landscape and portrait
orientations. The RB mount lenses
incorporate Seiko leaf shutters and

the range eventually included over
20 models from a fish-eye to a
telephoto. The Pro S model along
with new K series lenses was
launched in 1974 and, in 1990, the
Pro SD which could be fitted with
a 6x8cm format film magazine and
L series lenses - of which there
were only two, a 75mm shift lens
and 500mm telephoto. The Pro
SD has a larger mount for these L
lenses, but the K lenses all have
an adapter to enable fitting to this
model (it needs to be removed
for use with the earlier Pro and
Pro S bodies). The Pro SD is the
pick of the litter if only by virtue of
these models being younger, but
all RB67s were built tough and the
overall reliability is generally good.

Mamiya's RZ67 was introduced
in 1982 and retained the
RB's revolving film backs and
bellows-type focusing, but the
new RZ lenses incorporated an
electronically-controlled Seiko leaf
shutter (which, obviously, is reliant
on battery power), LED displays
and provision for aperture-priority
auto exposure control (when
fitted with the AE prism finder). It
also has a polycarbonate, rather
than metal, bodyshell so, at the
time, it was viewed with some
scepticism by traditionalist pros
and never quite gained the same
popularity as the RB67 which
it was meant to replace. As it
happened, the RB67 stayed in
production alongside the RZ67
which was subsequently updated
to the RZ67 II in 1995 and RZ67
1 1 D in 2004, the latter equipped
to better integrate with digital
capture backs. RB lenses can be
used on the RZs - albeit with the
loss of auto exposure control - but
RZ lenses don't fit the RB bodies.
Did the RZ67 prove to be any less
reliable than its mechanical cousin?
Not really as both suffered from
the same mechanical wear when
being worked professionally, but
particularly check for any battery-
related problems (and with the
many electronic contacts) when
contemplating an RZ67.

In contrast to the 6x7cm format
Mamiya SLRs, the 6x4. 5cm
models are exceptionally compact
and the original M645 is a pretty
thing too. Mamiya continues
to make a 6x4. 5cm SLR - the
digital-ready 645DF+ - but funnily
enough these earliest models are
arguably still the best for shooting
film. To help keep it compact and
also reduce the cost, the M645

.'7 ,;Y The big question mark over

buying ‘analog’ medium format
cameras is, of course, the
availability of film and, perhaps
even more importantly, film
processing services.

doesn't have interchangeable film
magazines, but the finders can
be swapped and, of course, the
lenses. There were eventually three
models; the standard camera being
flanked by the M645 1000S with a
faster 1/1000 second shutter and
additional features (including a self-
timer) and, in reverse, the stripped-
down M645J which was designed
as a cheaper entry-level model.

A whole new camera called
the M645 Super was introduced
in late 1985 with a polycarbonate
bodyshell and interchangeable
film magazines plus a host of
convenience features to bring
operation more into line with
that of the 35mm SLRs from the
period. This included the option of
adding an autowinder which was
housed in a handgrip. Subsequent
models were the 645 Pro (1992,
the 'M' prefix was dropped),
the 645 ProTL (1997) and the
645E (2000, with a fixed prism-
type viewfinder). At roughly the
same time as the 645E, Mamiya
launched the 645AF, again with
an all-new bodyshell and, of
course, autofocusing.The 645AF
has subsequently spawned the
645AFD, 645AFD II, 645AFD III,
645DF and 645DF+; the latter
three also being marketed as
Phase One models and primarily
designed for use with digital
capture backs.

The Little Big Format

The 6x4. 5cm format enjoyed
growing popularity during the
1980s and '90s, primarily because
it combined a more compact
camera body (and lenses) with
an image size that's still 2.7x
bigger than 35mm. It also allows
for 15 frames from a 120 roll so
the frequency of film changes is
reduced compared to either 6x6cm
or 6x7cm.

As well as Mamiya, both
Bronica and Pentax offered

MEDIUM FORMAT CAMERAS

CLASSICS

'/////A

CLASSICAL

HITS

THE TOP FIVE
MEDIUM
FORMAT
FILM

CAMERAS

'//////

Pentax 645

So ahead of its time, it
still feels contemporary
over 30 years later.

*/////>,

Z
Z

Hasselblad 500C/M

The most classical of
classic medium format
SLRs and a chance
to own one of photo-
graphy's great marques.

Mamiya C330

The bestTLR ever made
and without the price
premium that comes
with the Rolleif lex badge.

Fujica/Fuji G5645S

A small camera capable
of great things, and fun
to use too. Still no digital
equivalent either.

Hasselblad SWC

Most desirable in the
later 903 and 905
variants, but all models
are rare and exotic
photographic gems.

vzzzzzzzzzzzzzzzzzzzz/zzzzzzzzzzzzzzzzzzzzzA

6x4. 5cm SLRs and Fujifilm built a
number of 6x4.5 cm rangefinder
models with fixed lenses which
offered an even more appealing
balance of camera size and
image size.

Bronica's ETR series of 6x4. 5cm
SLRs never quite achieved the

popularity of Mamiya 's M645
cameras, but they were preferred
for wedding photography and
portraiture as they used leaf-type
shutters (enabling flash sync at all
speeds) and interchangeable film
magazines right from the start.
Bronica also competed in the

6x7cm format with the GS-1 which
: was launched in 1983, but again
never challenged the dominance of
the Mamiya RB67. Nevertheless,
it's a fine camera - if you can
track one down - and backed by a
reasonable system of leaf-shutter
prime lenses.

As it is doing now with its
; digital medium format cameras,
Pentax challenged convention
I with its rollfilm designs, starting
| with 6x7cm format 6x7 which
was launched in 1969 and,
instead of using a box-form
configuration, looked like a 35mm
SLR on steroids. This meant
more balanced handling and,
consequently, the 6x7 was able

■ to be used in situations where
a big box-form camera was
less convenient - such as for
aerial photography - particularly
when the optional handgrip
was fitted. The Pentax 6x7 has
interchangeable viewfinders
(including a metering prism), a
focal plane shutter with a top
speed of 1/1000 second and a

| lever-type film advance which
provided the efficiency of single-
j stroke operation. Although, the 6x7
j is a fully manual camera, it requires
a battery for operation. Subsequent
models were the 67 (1989) which
introduced a range of ergonomic
improvements, and the 67 II (1998)
with a built-in handgrip and LCD
info panel. Particularly noteworthy
is the extensive system of lenses
which accompanied the Pentax
6x7cm cameras which included
leaf-shutter types and was
continually upgraded throughout
the life of the system.

Pentax's original 645 model
- launched in 1984 - was even
more revolutionary, bringing all
the features of a contemporary
35mm SLR to a 6x4. 5cm format
model, including TTL centre-
weighted metering, a full set of
'PASM' exposure control modes,
a built-in autowinder and an LCD
info display. Again, it was backed
by an extensive system of lenses
which are still mostly available for
use on the digital 645D and 645Z
models. The 645 evolved into the
645N (1997) which introduced
autofocusing and multi-zone
metering - both firsts for medium
format SLRs - and increased the

■ autowinder's speed from 1.5 fps
to 2.0 fps. The 645N II followed

; in 2001 which added several new
features including a mirror lock-up.
In many ways, the Pentax 645N II
: models represent less of a 'culture

shock' for anybody contemplating a
medium format film camera today
because, operationally at least,
they're pretty similar to current
D-SLRs, especially in terms of their
automated systems. Additionally,
any lenses that you buy - either
new or second-hand - could
continue to serve you should you
be able to upgrade to Pentax's
digital models in the future. It's
worth thinking about.

Rolleiflex After The TLR

After its great success with the
legendary TLRs, Rollei could never
relive these glory days with its
6x6cm SLRs despite introducing
the highly-capable SL66 models
and then the revolutionary SLX.
Built-in very small numbers
compared to the Hasselblad 500
series models, the SL66 was very
similar in basic configuration, but
had bellows-based focusing with
tilt movements for greater control
over depth-of-field.

Today SL66s are hard to find
and pricey compared to, say, a
Hasselblad 500C/M, but if you
want something truly different, it
will be worth the extra effort and
investment. Likewise with the
SLX which was introduced in 1976
and offered the conveniences of a
built-in autowinder, TTL metering,
shutter-priority auto exposure
control and LED indicators in the
viewfinder. The SLX evolved into
the 6006 (1983) which added
the flexibility of interchangeable
film magazines - with ingenious
built-in darkslides - and features
such as OTF auto flash metering.
This range ultimately culminated
in the 6008AF (2002) which, as
well as autofocusing, has multi-
zone metering, 'PASM' exposure
control, auto bracketing, a full LCD
viewfinder display and continuous
shooting at up to 2.0 fps.

Despite nominally remaining
in production until the demise of
DHW Fototechnik, the 6008AF has
always been a rare beast (likewise

O Flasselblad 553ELD 6x6cm
SLR with built-in autowinder

O Flasselblad 500SWC 6x6cm
fixed lens wide-angle camera

0 Lubitel 166B 6x6cm twin lens
reflex (TLR)

O Mamiya C330 Professional S
6x6cm twin lens reflex (TLR)

O Mamiya M645 6x4.5cm SLR

Mamiya RB67 Professional
SD 6x7cm SLR

72 CAMEf^A

MEDIUM FORMAT CAMERAS

CLASSICS

the Schneider-made AF lenses) and
is even more so now. Be prepared
to pay a lot if you really want one
with a workable set of lenses.

No Mirror, No Cry

The less pricy route into medium
format photography has always
been via a rangefinder camera and
this is still true today, especially
with Fujifilm's line-up of fixed-lens
models. Initially though, Fujifilm
offered a choice of interchangeable
lens models (badged Fujica) in the
6x7cm and 6x9cm. These cameras
are now rare and highly collectible
so, if affordability is your priority,
it's the fixed-lens model from 1978
onward that are worth considering.

mounted 60mm lens (equivalent
to 35mm) and a GS645W with a
45mm lens (equivalent to 28mm).
Both these cameras have a
distinctive curved 'bumper bar'

I arrangement which protects the
front rim of the lens. All the GS645
models have built-in metering
- something that was never
available on the 6x7cm and 6x9cm
cameras. The later-generation GA
series models, introduced in 1995,
j were essential medium format
versions of a point-and-shoot
35mm compact with autofocus,
programmed exposure control,
motorised film advance and a built-
in, pop-up flash. However, fully
manual control is also available. As

Undervalued in their day, none
of the Fujifilm medium format
RF cameras were built in huge
numbers, but they can still
be found and, in most cases,
are reasonably priced.

These start with the GW690 and
the GW670 which were fitted
with a 90mm f3.5 lens which was
equivalent in focal length to a
35mm on the GW690 and a 42mm
on the GW670. Fujifilm introduced
the GSW690 in 1980 which had a
fixed 65mm f5.6 lens, equivalent
to a 25mm in the 35mm format.
Series II versions of all three
models arrived in 1985 and the
main changes were the addition
of a hotshoe and a built-in hood
on the lens plus the Fujica name
was dropped in favour of simply
"Fuji '.'The Series III cameras were
launched in 1992 and featured
radically restyled bodyshells and a
redesigned viewfinder which has
a brighter, Leica-style rectangular
double-image rangefinder rather
than the previous spot.

Perhaps the most interesting
models, though, are the 6x4. 5cm
cameras which, as noted earlier,
are exceptionally compact, but
deliver the image quality benefits
of the bigger frame size. The
Fujica GS645 Professional was
essentially a modern interpretation
of the old 6x6cm 'folder' complete
with a 75mm f3.4 lens (equivalent
to 45mm) mounted on bellows
so it could be retracted into the
camera body, making for an even
more compact package. There was
also a GS645S model with a rigidly-

\ with the previous series, Fujifilm
subsequently introduced a wider-
angle version, called the GA645W
and fitted with a 45mm f4.0 lens
(equivalent to 28mm). Both were
subsequently upgraded in 1997
as the GA645i and GA645Wi
with the main change being the
addition of a second shutter
release button on the front panel.

In 1998, Fujifilm introduced the
last-of-the-line GA645Zi model
which has a 55-90mm f4.5-6.9
zoom lens (equivalent to 35-55mm)
and a restyled body with a more
pronounced handgrip.

Undervalued in their day, none
\ of the Fujifilm medium format
RF cameras were built in huge
numbers, but they can still be
found and, in most cases, are
reasonably priced. Our picks would
be the GS645W for the purist
approach or the GA645W if you'd
prefer more automation.

Just as in the 35mm, the
: interchangeable lens rangefinder
camera enjoyed a final fling in the
■ medium formats before digital put
an end to it all. You can have in all
the popular film sizes - 6x4. 5cm
with the Bronica 645RF, 6x6cm
with the Mamiya 6 and 6x7cm
with the Mamiya 7. All were
comparatively short-lived so the
choice of lenses for each is small,
but still provide greater versatility

I than the fixed lens models from
Fujifilm. A bit of a surprise when
it arrived in 2000, the Bronica
: 645RF was pretty much the
| brand's last roll of the dice, and it's
| a thoroughly modern design with
j fully electronic controls including
j program and aperture-priority
; exposure modes, an automatic
! darkslide (for lens changing) and
! automatic parallax correction in
j the viewfinder. It was launched
I with three leaf-shutter lenses - a
45mm f4.0 (34mm equivalent), a
j 65mm f4.0 (40mm) and a 135mm
| f4.5 (100mm) which was quickly
j replaced by a 100mm (75mm), but
j both these short telephotos are
: extremely hard, if not impossible,

; to find. With Bronica now long
i gone, spare parts and repairs are
I now a major issue which is why
it might be wiser to consider the
Mamiyas. Introduced in 1989, the
: Mamiya 6 - the last in a line of
models to have this model number
- is a more traditional design than
; the Bronica and offers the flexibility
| of the square format. Also more
useful is the lens line-up although,

! again, there's only three models -
a 50mm f4.0 (28mm equivalent),
75mm f3.5 (45mm) and 150mm
f4.5 (82mm) - all with electronic
leaf shutters. A collapsible lens
mount makes the 6 more compact
to store, and it offers modern
| 'conveniences' such as aperture-
i priority auto exposure control, auto
: frame selection in the viewfinder
j and single-stroke film advance.

: The 7 (1995) is essentially the
: same camera in terms of design
; and features, but steps up to the
j 6x7cm format - 4. 5x larger than
j 35mm - so it's bigger and there's
i a choice of six prime lenses from
! a 43mm f4.5 ultra-wide (21mm
equivalent) to a 210mm f8.0
| telephoto (105mm). An updated
| model - the 7 II - was introduced
! in 1999 and has an updated
; viewfinder, a few ergonomic
i revisions and a multiple exposure
j capability. In practical terms, the
! changes between the two models
j are minor so don't be put off
j from buying the Mark I model. A
key advantage of all the medium
| format RF cameras - versus some
j SLRs - is that loading the rollfilm
j is a simple right-to-left (or vice
j versa) procedure and so virtually no
j more involved than using 35mm...
i but, of course, you don't need to
| rewind at the end.

The Conclusion

i Using any medium format film
: camera is guaranteed to be an

j experience, but some certainly
i demand more involvement than
; others so you need to decide
j whether you just want a plaything
j or something that will be used for
! serious photography, leveraging
j the extra imaging quality of the
| larger frame sizes that's now at
j give-away prices (well, in some
| cases). There are lots of good
j reasons for going down the
j mechanical route, especially if
| buying something that's now
I orphaned by the demise of its
j original manufacturer. While it
; may seem re-assuring to opt for a
j more automated camera, you'll be
! surprised how quickly and easily
i you can become accustomed
| to doing everything manually...
j and it's generally a whole lot
! more fulfilling. Given the vast
| majority of medium format film
j cameras were designed and built
! with professional usage in mind,

I reliability is generally less of a
| problem than might be the case
j with amateur cameras of a similar
j vintage, but the simple truth is that
| there's less to go wrong with an
j all-mechanical design versus one
j that employs some electronics
j and, in particular, is fully dependent
! on battery power,
j The choice here, then, is
; huge and includes Hasselblad's
j 500 series cameras, the mighty
| Mamiya RB67 and the first M645
| models, allTLRs, Fujifilm's earlier
j rangefinder designs and the
1 Rollei SL66s (admittedly harder
I to find now than the rest of this
! list). Nevertheless, there are
i battery-dependent cameras worth
j considering such as the Pentax
j 6x7and 645, and you could safely
j 'go all the way' with something
j like the Fujifilm's autofocus GA
I series. If you really want to travel
! light, a medium format RF camera
j of any flavour makes sense, from
j 6x4. 5cm up to 6x9cm.

So, don't be afraid... give

j medium format film photography

! a shot and it's virtually guaranteed

j you'll be completely besotted after

; the first roll.

74 Camera

MEDIUM FORMAT CAMERAS

OUEiFLEX

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MMS

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■55RS

52JH

PRACTICE

DIGITAL PRINT MAKER

THE BIG BOOK

Avid D-l-Y book-maker Trevern Dawes has created numerous
photo books from his travels, but recently he decided to go
extra-large with a portfolio-style production.

O ver the years I've accumulated
a vast collection of landscapes
taken at Lake Gairdner and so it
occurred to me that this particular
theme would be ideally suited to
the production of a large portfolio
book. Selecting the photographs was only part of
the project, as the book format, paper type and
choice of inkjet printer were technical issues that
all needed resolving.

For the format I decided on 483x356
millimetres, featuring 300 millimetres wide
horizontal images set at 70 millimetres from
the right-hand side and 80 millimetres from
the left (the extra ten millimetres here being
an allowance for binding). Portrait-orientated
images were placed in a rectangle positioned
40 millimetres from the top of the page and 42
millimetres from the bottom.

Dual-sided inkjet paper would seem the logical
choice for this sort of project and will ensure

consistency of paper surfaces throughout a book.
However, if only right-hand pages are being used
for the images then a suitable 'standard' paper
can be considered. However, it is highly desirable
to choose a paper where the non-printable side
is a close match to the printable side in texture
and 'colour'. For obvious reasons papers with
manufacturer's branding on the reverse side
should be avoided.

The paper weight (i.e. the gsm - grams
per square metre) and thickness were critical.
Anything too light or too heavy for the format size
would cause problems. For example, a 170 gsm
dual-sided matte paper that's frequently used for
bookwork would have been too flimsy for such a
large paper size, whereas 315 gsm would be far
too bulky for the number of pages involved.

After experimenting with several papers,
Innova Fibra Matt 280 gsm was chosen. The
sheets were cut down from a 430 millimetres
wide roll and then flattened down under weights

over a period of several days. Working with
perfectly flat sheets is necessary to ensure
easy printer pick-up and to avoid head-strike ink
markings on the paper ends.

This Innova paper does not contain optical
brightener agents (OBAs) yet is not too yellow
either, while the surface is flat. A slightly stippled
paper can lead to ink flecking and usually requires
a protective sealant spray.

THE PRINTER

The page format of 484x356 millimetres
essentially rules out any A3+ format printers,
although the Canon A3+ printers can - unofficially
- handle such a format by using the fine-art front
paper feed. Nevertheless, an Epson Stylus Pro
3880 (which is A2 format) was assigned the
task of printing up to 50 landscapes, a title and
a page of text. Print longevity was a key issue,
so despite a liking for dye-based printers, the
pigments of the Epson printer were actually
more persuasive.

Making a final selection of photographs for a
book is never easy, let alone then determining the
sequence in which they might appear. As right-
hand only pages, each image at least stands alone
without any need to complement what otherwise
might be placed on the left-hand page. The
sequence was run chronologically, commencing
with the earlier film-based images through to the
later images taken with digital cameras.

The Lake Gairdner project didn't require any
captions or supporting text because all images

76 Camera

V Because this book has been machine stitched in sections,
the pages tend to lie fairly flat when it's opened.

PRACTICE

were from this one location. However, if the book
involves a variety of subjects and/or locations,
then descriptions will probably need to be
incorporated. In order to let each image 'breathe',
supporting data is best positioned well away
- either at the base of each page or on the left-
hand page - in which case it's preferable to use
a dual-sided inkjet paper. Preparing a small set
of test pages is recommended to see how the

The book is housed in a custom-made solander
box. This is not only an excellent storage method,
but also allows the book to be viewed without
removal. A 12 mm wide 'step' on the right-hand
side of the box was included to allow finger space
to turn the pages.

The sheer size of the big
book is best shown placed
next to an A4 production.

entire project might look, particularly
in terms of how both the vertical and horizontal
orientated pictures will appear relevant to the
established margin widths.

PRINTING AND BINDING

A custom ICC profile was created for my
particular printer-paper combination. The highest
print resolution at the slowest speed resulted in
long printing times, but with quality the prime
issue, this was quite acceptable.

Each sheet was carefully checked before
insertion in the printer's auto sheet feeder to
ensure they were free of any dust particles.

After each print was completed, it was placed
on a table to dry down. As the table could
accommodate up to about ten A2 size prints,
this was the maximum number targeted for any
printing session.

Prior to visiting the bindery, a stop at the local
art shop was required to find a suitable paper
for the end papers of the book. Two very large
sheets with an almost exact colour and texture
match at 200 gsm were acquired. The sheets
needed to be large enough to span the 966
millimetres width of two pages without needing
a join at the gutter.

At the bindery a dark grey cloth was selected
and silver lettering for the title assigned to the
cover and spine. The pages were machine-
stitched in sections to allow the book to be
opened out as wide as possible. Three sets of
titles on small pieces of cloth were organised,
along with extra cloth and board for the
preparation of a solander box.

PRESENTATION

Making a custom-sized solander
box for storage and presentation
requires some practice and
about four hours of labour (not
including the glue drying time).
But when you discover just
how much a commercially-made
standard A2 solander box costs,
you soon appreciate that a home
production is worthwhile.

Acid-free craft PVA glue is highly
recommended and there are a number
of Internet sites which outline various
construction methods.

A slip case is always a useful protection for
a treasured book, but a solander box has its
advantages in allowing a book to be viewed
without removal from the box.

A portfolio book of 483x356 millimetres is a
sizeable and relatively heavy object that won't fit
on a bookshelf. That, in itself, is a limitation and
may result in only one or two productions being
undertaken. Nevertheless, it can be an excellent
means of assembling a print collection and can
actually bring immense pleasure in the making
and the viewing. %

Camera 77

FUJIFILM SHOWCASE

2016 FUJIFILM SHOWCASE Third Round Winners

Using B&W adds an extra element of atmosphere to this beautifully
composed study of a 14th century Scottish castle in the county of
Argyllshire. Sometimes having the main subject absolutely in the middle
of the frame is the only way to go. Greg Hanlon used a Nikon D810 fitted
with a Zeiss Apo-Sonnar 135mm f2.0 prime lens.

DO YOU WANTTO WIN?

Fujifilm Australia generously supplies the prizes
for each issue's successful entrants to the
Showcase. Entrants have the choice of specify-
ing either film or a memory card (please specify
on the entry coupon or indicate your preference
if entering via email). The grand prize is a Fujifilm
FinePix S4200 digital camera (or the equivalent
should it be replaced in the meantime) which has
a 14 megapixels CCD sensor and a 30x optical
zoom equivalent to 24-720mm.

Note that it is not a requirement that entries
to the Fujifilm Showcase be taken on Fujifilm

camera equipment, either film or digital. However,
film-based photographs must be originally taken
on Fujifilm products. In the case of winning
images that are submitted as prints, proof may be
required (i.e. by supplying the original negative).

FUJIFILM SHOWCASE 2016

The 2016 Fujifilm Showcase closes on 30
September 2016. Entries received after this
date will be automatically entered in the 2017
competition which starts with the November/
December 2016 issue. The overall winner of the
2016 competition will be announced in the same

issue. You can enter the Fujifilm Showcase as
many times as you like during the year, up to four
photographs each time. Please make sure
you provide all the necessary camera and film/
capture details on the entry coupon (which
can be copied if you don't want to cut up your
magazine). All entries must be accompanied
by a fully completed entry coupon.

Why not have a go? Not only can you win
some great prizes, but it's also a chance to
see one of your pictures in print. Read the
accompanying rules carefully and get snapping.

78 CAMEfy\

ENTRY GUIDELINES
FOR DIGITAL IMAGES

HIGHLY COMMENDED

Colours, shapes and patterns all combine here to create a compelling and absorbing image which keeps you
looking around the frame to see what else you might have missed. It's the work of a very regular Fujifilm
Showcase entrant, Graham Scheer, who used a Pentax K-5 fitted with aTamron 35-80mm zoom lens.

COMMENDED

The rusty patina on this old
diesel fuel pump creates an
atmospheric study, helped by
the warm lighting of an old barn.
The photo is by Paul Watson who
used a Panasonic Lumix LX100
high-end compact camera.

You can enter digital
images into the Fujifilm
Showcase and files can
be supplied on CD or DVD
via mail or via email to
cameracomp@
avhub.com.au
The requirements for
submitting digital files
are as follows.

• 300 dpi resolution,
and at a file size which
enables a reproduction
of up to 20x15 cm.

Please avoid submitting
overly large file sizes,
especially when
emailing the images.

Up to 4.0 MB in file size
is more than sufficient.

• Digital retouching
and manipulation is
permitted, but the judges
will continue to reward
good camera techniques.

• Full details of the
actual camera, lens
and any retouching
must be supplied with
the image. Images can
be titled if you wish,
but this isn't essential.
Please make sure your
CDs or DVDs are marked
with your name and
address.

• Up to four images may
be permitted per entry.

• Please include an SAE if
you would like your CD
or DVD returned.

• All featured images
win a Fujifilm SDHC
memory card.

FUJIFILM SHOWCASE

Tell us how you did it! When you enter the Fujifilm Showcase competition, remember to explain any tips and
techniques you used to achieve the result. Also, let us know the type of camera and film.

[l. TITLE

CAMERA

lens]

im wm

2. TITLE

CAMERA

LENS 1

3. TITLE

CAMERA

lens]

[ 4. TITLE

CAMERA

lens]

ADDRESS

POSTCODE

TELEPHONE

□ Please return entries. Self-addressed
postage and packaging is included.

( ) I do not want my entries returned.

Post your entry to: Fujifilm Showcase,
Camera Magazine, Locked Bag 5555,
St Leonards, NSW 1590 (or email to
cameracomp@avhub.com.au - see
above for digital submission details).

Camera 79

www.teds.com.au

fed

III ssr

/ .

amexas

Helping you capture life

DIGITAL SLR CAMERAS buyer's check list march/april 201 6

THIS CHECKLIST is designed to allow direct comparisons estimated street price' derived from the range of prices for I or confirmed, the letters TBA (to be announced) or TBC

between different camera models, here listed in price order a model published by retailers. Where this has been (to be confirmed) are used. If a feature is irrelevant to

within each brand. The published prices are mostly supplied necessary, the letter 'E' appears at the start of the entry. a particular model - such as mirror lock-up for compact

by the distributors as recommended retail prices (BBPs). A dot appearing in a column indicates that the fea- system cameras - then n/a (not applicable) is used.

However, some distributors are no longer supplying BBPs ture is available on the camera model listed. Where a Every effort is made to ensure accuracy; please send

to the media so it has become necessary to determine an specification or product detail hasn't yet been published any corrections to camera@avhub.com.au

Sensor

Size

Sensor

Type

File

Formats

Memory

Cards

Exposure Modes

Features

CD_

* single lens kit
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Canon EOS 1200D*

$449

18.7

•

■

100

•

30-1/4000

•

7.62

450

Canon EOS 100D*

$699

18.5

•

30-1/4000

•

7.62

370

Sept/Oct '13

Canon EOS 700D*

$749

18.5

•

’

•

■ — ^ !

• .

•

30-1/4000

•

7.62

580

Jul/Aug '13

Canon EOS 750D*

$1,049

24.7

•

440

7560

•

30-1/4000

•

7.62

555

Canon EOS 760D*

$1,299

24.7

•

940

7560

•

30-1/4000

•

7.62

565

Canon EOS 70D*

$1,349

20.9

•

30-1/8000

•

7.62

670

Nov/Dec '13

Canon EOS 6D

$1,999

20.6

•

4.5

1250

•

30-1/4000

•

7.62

690

Mar/Apr '13

Canon EOS 7D Mark II

$2,149

20.9

•

252

•

30-1/8000

•

7.62

910

Jan/Feb '15

Canon EOS 5D Mark III

$3,499

23.4

•

’

•

30-1/8000

■

•

8.1

860

May/June '12

, E !

Canon EOS 5Ds

$4,999

•

510

105K

•

. '

30-1/8000

•

8.1

845

Sept/Oct '15

Canon EOS 5DsR

$5,399

•

510

105K

•

30-1/8000

•

r — ;

—

•

8.1

845

, E J

Canon EOS-1 DX

$6,899

19.3

•

100

100K

•

30-1/8000

•

7.62

1340

Nov/Dec '12

Canon EOS-1 DX Mark II

TBA

21.5

•

360K

•

30-1/8000

■

•

■

•

8.1

1340

Nikon D3200*

$549

16.9

•

100

420

•

30-1/4000

•

7.62

510

Jul/Aug '11

Nikon D5100*

$590

24.7

•

100

420

•

30-1/4000

•

—

•

8.1

510

Jul/Aug '13

Nikon D3300*

$599

24.7

•

TBA

420

•

30-1/4000

•

7.62

410

Nikon D5200*

$799

24.7

•

1 1

•

5 .

100

2016

•

30-1/4000

•

7.62

505

Jul/Aug '13

Nikon D5300*

$899

24.7

•

100

2016

•

30-1/4000

•

□

•

8.1

480

Nikon D5500*

$999

24.7

•

5 '

100

2106

•

30-1/4000

•

8.1

420

Sept/Oct '15

Nikon D7000*

$1,099

16.9

•

100

2016

•

30-1/8000

•

7.62

690 1

Mar/Apr '11

Nikon D7100*

$1,299

24.7

•

6 .

2016

•

30-1/8000

•

■

•

8.1

675

Sept/Oct '13

Nikon D7200

$1,449

24.7

□

•

100

2016

•

30-1/8000

•

8.1

675

Jul/Aug '15

Nikon D610

$1,799

24.7

•

. j

•

„

•

6 '

2016

•

30-1/8000

•

8.1

760

Mar/Apr '14

Nikon D750

$2,349

24.93

•

6.5

TBA

91K

•

30-1/4000

•

8.1

750

May/Jun '15

Nikon Df

$2,899

16.9

•

5.5

100

2016

•

30-1/4000

•

8.1

710

Mar/Apr '14

Nikon D800

$2,999

36.8

•

: 56

91K

•

30-1/8000

•

* .

•

8.1

900

Sept/Oct '12

Nikon D810

$3,599

37.1

•

100

91K

•

30-1/8000

•

8.1

880

Sept/Oct '14

Nikon D810A

$3,899

37.1

•

5 |

91K

•

900-1/8000

•

8.1

880

Nikon D4S

$6,699

16.6

•

200

91K

•

• .

•

30-1/8000

•

8.1

1180

Nov/Dec '14

Nikon D3X

$9,199

25.7

•

130

1005

•

30-1/8000

•

7.62

1220

Mar/Apr '09

Nikon D500

TBA

21.51

•

153

180K

•

30-1/8000

•

8.1

760

Nikon D5

TBA

21.33

•

200

153

180K

•

30-1/8000

□

•

□

•

8.1

1235

Pentax K-S1*

$799

20.42

•

5.4

•

30-1/6000

•

7.62

499

Pentax K-S2

$925

20.42

•

5.5

•

30-1/6000

•

7.62

618

Nov/Dec '15

. _J

Pentax K-50*

$999

16.5

•

j ;

1 30

•

30-1/6000

•

7.62

590

Mar/Apr '14

□

Pentax K-3 II

$1,349

24.7

•

8.3

86K

•

30-1/8000

□

•

•:

•

8.1

700

Sony ILCA-77 II

$1,499

24.7

•

■

•

1200

•

30-1/8000

•

n/a

•

7.62

647

Sony SLT-A99

$2,499

24.7

•

1200

•

30-1/8000

•

n/a

•

7.62

’"733”

Nov/Dec '12

. j

Sony ILCA-77 II

$1,499

24.7

•

. 12 .

1200

•

30-1/8000

! ^

•

n/a

•

7.62

647

Sony SLT-A99

$2,999

24.7

•

1200

•

30-1/8000

•

n/a

•

7.62

733

Nov/Dec '12

80 CAMEift

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WITH INTERCHANGEABLE fVlIC CAPSULE SYSTEM

Camera

IMAGING Ofllft
AWARDS lv ID

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DIGITAL VIDEO CAMERA
OF THE YEAR

ZOOM Q8

The world’s best-sounding video camera.

zoomaus.com.au

Zfrbttt CflnwrAUon

www.teds.com.au

fed

III

/ .

P i,

amexas

Helping you capture life

COMPACT SYSTEM CAMERAS buyer's check list march/april 201 6

THIS CHECKLIST is designed to allow direct comparisons
between different camera models, here listed in price order
within each brand. The published prices are mostly supplied
by the distributors as recommended retail prices (RRPs).
However, some distributors are no longer supplying RRPs
to the media so it has become necessary to determine an

estimated street price' derived from the range of prices for
a model published by retailers. Where this has been
necessary, the letter 'E' appears at the start of the entry.

A dot appearing in a column indicates that the fea-
ture is available on the camera model listed. Where a
specification or product detail hasn't yet been published

or confirmed, the letters TBA (to be announced) or TBC
(to be confirmed) are used. If a feature is irrelevant to
a particular model - such as mirror lock-up for compact
system cameras - then n/a (not applicable) is used.
Every effort is made to ensure accuracy; please send
any corrections to camera@avhub.com.au

Sensor

Size

Sensor

Type

File

Formats

Memory

Cards

Exposure Modes

Features

* single lens kit
** twin lens kit

I !

[

Canon EOS M10*

$699

18.5

•

4.6

1000

384

•

30-1/4000

•

n/a

•

7.62

301

Canon EOS M3*

$899

24.7

•

□

•

4.2

1000

384

•

30-1/4000

•

n/a

•

7.62

350

Fujifilm X-A1*

$649

16.3

•

! 5.6 1

256

•

30-1/4000

•

n/a

•

7.62

300 "

Fujifilm X-A2*

$749

16.5

•

6 ,

256

•

30-1/4000

•

n/a

•

7.62

300 '

Fujifilm X-T10*

$1,299

16.7

•

— — — .

1 8 ,

256

•

30-1/4000

•

n/a

□

•

7.62

331

Fujifilm X-M1*

$1,099

16.3

•

5.6 j

256

•

30-1/4000

•

n/a

•

7.62

280 J

Nov/Dec '13

Fujifilm X-T1

$1,699

16.7

•

'i •

256

•

30-1/4000

•

n/a

•

7.62

390

May/June '14

Fujifilm X-E2*

$1,899

16.7

•

' 7 !

256

•

30-1/4000

•

n/a

•

7.62

300 ^

j Jan/Feb '14

Fujifilm X-Prol*

$2,499

16.3

•

256

•

30-1/4000

•

n/a

•

7.62

400

May/June '12

Fujifilm X-Pro2

$2,699

24.3

•

273

256

•

30-1/32000

•

n/a

•

7.62

445

Hasselblad Lunar*

E$7,995

24.7

•

, 3

1200

•

30-1/4000

•

n/a

•

7.62

570

Leica T

$2,300

16.5

•

TBC

•

30-1/4000

•

n/a

•

9.4

339

Uul/Aug '14

Leica SL

$11,000

26.3

•

1 m

•

TBC

•

60-1/8000

•

n/a

•

7.5

771 1

Jan/Feb '16

Nikon SI*

$299

15.9mm

•

' 15~

135

TBC

•

30-1/16000

•

n/a

•

7.62

197

Nikon J2*

$399

15.9mm

•

, 12 ,

135

TBC

•

30-1/16000

•

n/a

—

•

7.62

238

Nikon J3*

$499

15.1

15.9mm

•

135

TBC

•

30-1/16000

•

n/a

•

7.62

201

Nikon J4*

$599

18.4

15.9mm

•

z ,

. 20 ,

171

TBC

•

30-1/16000

•

n/a

•

7.62

192

Nikon J5*

$699

15.9mm

•

171

TBC

•

30-1/16000

•

n/a

•

7.62

231

Nikon AW1*

$799

15.1

15.9mm

•

□J

15 .

135

TBC

•

30-1/16000

•

n/a

•

7.62

201 1

Nikon V3*

$999

18.4

15.9mm

•

171

TBC

•

30-1/16000

•

n/a

•

7.62

282

Sept/Oct '14

Olympus E-PL5*

$599

17.2

•

—

•

324

•

60-1/4000

•

n/a

•

7.62

279

Mar/Apr '13

Olympus E-PL7*

$799

17.2

•

8 ,

324

•

60-1/4000

•

jVa

•

7.62

279

Olympus E-P5*

$899

17.9

•

9 .

324

•

60-1/4000

•

n/a

•

7.62

373

Olympus OM-D E-M10*

$849

17.2"

•

324

•

60-1/4000

•

n/a

•

7.62 '

350

Jul/Aug '14

Olympus OM-D E-MI Oil*

$999

17.2

•

8.5

324

•

60-1/4000

•

n/a

•

7.62

350

Nov/Dec '15

Olympus OM-D E-M5 II*

$1,299

17.2

•

□

•

324

•

60-1/16000

•

n/a

•

7.62

417

May/June '15

Olympus OM-D E-MI*

$1,599

17.2

•

. IQ :

324

•

60-1/8000

•

n/a

•

7.62

350 ;

Nov/Dec '13

Olympus PEN-F*

$1,999

21.77

•

324

•

60-1/8000

•

n/a

•

7.62

370

Panasonic Lumix GF7*

$699

16.8

•

' 5.8 !

1728

•

60-1/16000

•

n/a

•

7.62

236 '

Panasonic Lumix G6*

$899

18.3

•

4.2

1728

•

60-1/4000

•

n/a

•

7.62

340

Sept/Oct '13

Panasonic Lumix G7*

$999

18.3

•

1728

•

60-1/16000

— 1

•

n/a

•

7.62

365 '

Sept/Oct ’15

Panasonic Lumix GM5*

$1,099

16.8

•

' 5.8 |

1728

•

60-1/16000

•

n/a

•

7.62

211

Mar/Apr '15

Panasonic Lumix GX7*

$1,149

16.8

•

7 i

1728

•

60-1/8000

•

n/a

•

7.62

340

Jan/Feb '14

Panasonic Lumix GX8*

$1,499

21.7

•

10 1

100

1728

•

60-1/16,000

•

n/a

•

7.62

435''

Jan/Feb '16

Panasonic Lumix GH4

$1,799

17.2

•

1728

•

60-1/8000

•

n/a

•

7.62

480 ]

Jul/Aug '14

Pentax Q-S1*

$449

12.7

9.5mm

•

1024

•

30-1/8000

•

n/a

•

7.62

183

Pentax Q7*

$699

12.7

9.5mm

•

11 -J

ziz

; 5 1

•

30-1/2000

•

n/a

•

7.62

180

Jan/Feb '12

Ricoh GXR + P10*

$499

10.6

7.59mm

•

5 1

256

•

70-1/2000

•

n/a

•

n/a

•

7.62

367 J

Sept/Oct '10

Ricoh GXR + S10*

$649

10.4

9.5mm

•

1.6

256

•

180-1/2000

•

n/a

•

7.62

325 J

Mar/Apr '10

Ricoh GXR + A12*

$799

12.9

•

[ 8 |

256

•

180-1/3200

•

n/a

•

n/a

•

7.62

160 I

Mar/Apr '10

Ricoh GXR + A16*

$899

16.5

•

. 7-5 .

256

•

180-1/3200

•

n/a

•

n/a

•

7.62

550

May/June '12

Samsung NX3300*

$599

21.6

•

•*

5 i

221

•

30-1/4000

•

n/a

•

7.62

230

Samsung NX500

$999

30.7

•

205

221

•

30-1/16000

•

n/a

•

7.62

550

Samsung NX1

$1,899

30.7

•

205

221

•

—

•

30-1/8000

•

n/a

•

7.62

550 ^

Sony Alpha 3500*

$599

20.4

•

3.5

1200

•

30-1/4000

•

n/a

•

7.62

352

May/June '14

Sony Alpha 5000*

$699

20.4

•

' 3.5 1

1200

•

30-1/4000

•

n/a

•

7.62

210

Sony Alpha 5100*

$899

24.7

•

. 6 1

179

1200

•

30-1/4000

•

n/a

•

7.62

224

Sony Alpha 7

$1,499

24.7

•

• .

5 j

1200

•

30-1/8000

•

n/a

•

7.62

416

Sony Alpha 7 II

$2,299

24.7

•

5 '

117

1200

•

30-1/8000

•

n/a

•

7.62

556

Sony Alpha 7R

$2,899

36.8

•

j 4 i

117

1200

•

30-1/8000

•

n/a

•

7.62

407

Sony Alpha 7S

$3,299

12.4

•

5 ;

1200

•

30-1/8000

•

n/a

•

7.62

416

Sony Alpha 7R II

$4,499

43.6

•

5 1

399

1200

•

30-1/8000

•

n/a

•

7.62

582

Sony Alpha 7S II

$4,799

12.4

•

5 i

169

1200

•

30-1/8000

•

n/a

•

7.62

584

82 CAMEift

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